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REFERENCE BOOK
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Digitized by the Internet Archive
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https://archive.org/details/annualreport1975fine
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ANNUAL REPORT
1975 -1976
THE FINE ARTS MUSEUMS
OF SAN FRANCISCO
3 1223 03473 5432
A^IUAL EEPORT 1975-1976
THE FINE ARTS MUSEU14S OF SAN FRANCISCO
M« H, de Yoimg Memorial Museum
California Palace of the Legion of Honor
Ian McKibbin lAiite
Director of the Museums
7 49380 SFPL: EfONO TRi:
61 SFPL 05/0^? 'OL
IMDEX
Par^e
Director’s Foreword i
Organizational Chart
I. Collections Division
Department of Africa, Oceania and the Americas 1
Department of Decorative Arts 4
Department of Painting and Sculpture 11
Department of Prints and Drawings l4
(Achenbach Foundation for Graphic Arts)
Department of Exhibitions 5
Temporary Exiiibitions 7
Painting Conservation Laboratory 12
Registrar - de Young Museiim 17
Registrar - California Palace of the Legion of Honor 20
Library 22
II* Education Division 23
Program Office 25
Art School 28
Docent Council 33
III. Administration Division 38
Public Information Office 4l
IV. The Museum Society 4-3
APPETElICSS
Appendix I - Achenbach Foundation 46
Appendix II - Registrar - de Young Museum 53
Appendix IH - Registrar - Legion of Honor 66
Appendix IV - Program Office 73
Appendix V - Docent Council 78
Appendix VI - Art School 78
Appendix VII - Administration Division 80
Appendix VIII - Board of Trustees 85
Appendix IX - Museum Society 86
• -f,’ , .y.r.rf .;a<Uiiyen:Ht8i»Mi»/iim^i«OTUM4c»«Ui^Pi?ANCi«»nf8yyf^
I
BOARD OF TRUSTEES
1
DIRECTOR
Ian McKibbin White
• EDUCATION
'ASSISTANT DIRECTOR
Thomas K. Seligman
— PROGRAMS
ASST. CURATOR
Bruce Merley
Charles Mills
ORGANIST
THEATER MANAGER
— INTERPRETATION
ASST. CURATOR
Lizabeth Cohen i
RESEARCH
— ART SCHOOL
CURATOR
Elsa Cameron
ASSOC. CURATOR
Richard Fong
STAFF AIDE
John Chiu 2
COMMUNITY WORKER
COLLECTIONS
ASSISTANT DIRECTOR
• PAINTING & SCULPTURE
CURATOR
William Eisner
CONSERVATOR
Ten Oikawa
VISITING CURATOR
Donelson Hoopes
— GRAPHIC ARTS
CURATOR
Robert F. Johnson
ASSOC. CURATOR
Fenton Kasiner
CURATORIAL ASST.
Masine Rosston 3
CONSERVATOR
— DECORATIVE ARTS
CURATOR
D. Graeme Keith
ASSOC. CURATOR
CURATORIAL ASSOC.
Anna Bennett 3
CONSERVATOR
— AFRICA. OCEANIA i THE AMERICAS
ASST. CURATOR
— PUBLICATIONS
PUBLICATIONS MGR.
Edward T. Engle i
— LIBRARY
LIBRARIAN
— REGISTRATION
REGISTRAR
S. DeRenne Coerr
Fred Snowden
REGISTRATION ASST
Harry Fugl
PHOTOGRAPHER
1
EXHIBITIONS
CURATOR
Thomas H. Garver
ASST. CURATOR
Susan Lev, tin
— INSTALLATION
DESIGNER
Royal Basich
GRAPHIC DESIGNER
Ron Rick 1
EXHIBITION MGR.
I— PREPARATORIAL
ACTING CHIEF PREPARATOR
John Almond
PRINCIPAL PREPARATOR
Ray Raczkowski
PREPARATOR
Rell Case
Tad Foster 2
David Hyry 2
MUSEUM PACKER
William Boyd
ADMINISTRATION
ASSISTANT DIRECTOR
Ronald Egherman
I
PAYROLL CLERK
VOLUNTEER COORDINATOR
SENIOR ACCOUNT CLERK
losephine Regan
ACCOUNT CLERK
Lauro Cruz
VENEXYR
Francis Creedon
STENOGRAPHIC SECRETARY
CLERK STENOGRAPHER
Sharon Hanford 2
— ENGINEERING
CHIEF STATIONARY ENGINEER
STATIONARY ENGINEER
Glenn Brakelield
JoeCarvm
Alphonso Morales
Frank Ritchie
OPERATIONS
MUSEUM SERVICES COORDINATOR
Salvatore Priolo
I — SECURITY
CHIEF GUARD
Elvin Howard
I
JANITORIAL
JANITOR SUB-FOREMAN
Uveme Chatman
SENIOR GUARD
Myron Hahn
Roger Moslev
guard IANITRESS
l37include58C.E.T.A I ,,,
WATCHMAN
FOOTNOTES
1 - Museum Society funded
2.C.E.T A.
3 -Volunteer
ii
DIKUCTOR'S FOREV/ORD
The year just ended was one of accomplishment, one bristling with
import for the future, and one not v/ithout controversy. The event v/ith
perhaps the most far-reaching effect was the imposition of a general
admissions fee to the Iluseums for the first time ever which began to be
collected in December. After meeting the cost of collecting the admissions,
one-half of the additional revenue goes to support the Museiams' needs, the
other half provides a new source of revenue for the City. Attendance to
date is down by over a third and the effect on public relations v/as pre-
dictable, The Museums have received letters of protest and questions of
alternatives have been raised, but perhaps the best that can be said about
the policy at this point, is that it is too early to adequately evaluate.
Since admissions are directly affected by the Museums^ programs wliich
fluctuate in popularity, it may take two to three years before we
thoroughly understand the effects of the policy.
Certainly the most exciting news of the year was that the Trustees had
raised the money, million dollars to undertake the first major renovation
to the de Young Museum building since the completion of the Brundage ^'^.ng
ten years ago. Over half the year was spent on the architectural and
engineering planning for the construction which began in March. An estimated
completion date is projected from early to mid-1977* The elaborate
preparations to clear the space for the renovation are described in the
Assistant Directors’, Registrar’s, and the Art School Reports. Great thanlcs
go to Tom Seligman, Fred Snov/den and their team of assistants who took on
additional duties to accomplish this onerous task. The effect on the Art
School was nothing less than traumatic. Classes at the Museum ceased
temporarily and the School moved to a nev; location. The Downtown Center
v/as the result, '^th a nev/ audience, new kinds of classes, an exhibition
program, and in spite of increased operating costs, the possibility of a
future after the School returns to the Museum. The renovation itself is
fully described elsev/here, but tv/o very important points must be emphasized.
Upon completion of the suite of conservation laboratories for paintings,
fumit-ure, textiles (emphasizing tapestries) along vri.th the newly established
regional conservation laboratory for v/orks of art on paper at the Legion of
Honor, The Fine Arts Museums soon v/ill have one of the best museum conser'/’-
ation facilities in the country. The Museums’ fine collection of American
paintings, the Legion of Honor and de Young Museums collections wliich were
combined after the merger of the Museums but inadequately housed, at last
will have appropriate exhibition space in a new suite of American Galleries.
These galleries are a Bicentennial gift to the Museum from the many donors
who responded to the challenge of the Merrill Trust’s matching grant and
funds provided by the bequest of William Noble. Conceptual planning for
the galleries got under*way v/ith the impetus coming from the Education
Division and the curatorial staff who decided we could do better than just
hang the pictures on the wall.
- 1 -
'Hie major Bicentennial exliibition was the American paintings collection
of and fh's. Jolm D. Rockefeller 3i*d. The exliibition was critized by a
ft'w for not being a survey of American art, which it never intended to be,
Init otherwise was enthusiastically received and accompanied by the most
elaborate and innovative educational programs yet undertaken by the Museums,
'ihe exliibition procirnm generally was marked by its diversity, including
such chows created by the museum staff as the Lewis Land collection of
Pre-Columbian sculpture (AOA Department), a Food Show and a Foot Show (Art
School), two elegant exliibitions for local sculptors, Sam Richardson and
Robert Cremean (Tom Carver) and the unexpected boon of Master Paintings
from tlie Hermitage and the State Russian Museum. Attendance at the latter
was severely curtailed when the Museums were closed by a citywide strike.
Nonetheless, 95,295 people paid to enjoy such pictures as Caravaggio's
"Lute Player", Rembrandt's "Sasld.a as Flora", tv/o early large scale Matisses,
a pair of monumental Picassos and thirteen examples of the indigenous
Russian School of painting. In January, a nev/ hanging of the Norton Simon
French Collection was presented at the Legion of Honor with important new
paintings added, a reinstallation v/hich celebrated the publication of
Volume II of the collection catalogue. The paintings moved to Pasadena
in June as expected, completing the agreed three year loan, certainly one
of the most significant in the life of the museum.
A flurry of exhibitions and activity was generated by Robert Johnson,
the new Cijirator in Charge of the Prints and Drawings Department, the Achen-
bach Foimdation for Graphic Art. It is a great relief and pleasure after
a long search to have this important post so well filled. Conservator Roy
Perlcinson returned to Boston in June after establishing the Paper Conservation
Laboratory as a regional facility in two years as he had promised to do.
Although anticipated, it was a loss. It was typical, however, of this
competent and conscientious person that he left the laboratory in the hands
of a well-trained and promising successor, Robert FuterrJ.ck, Lanier Graham's
resignation at raid-year after six years as Chief Curator, was also a loss,
if an inevitable one. During his tenure his primary accomplishments v;ere
the reorganization of the collection by national school and the institution
of a professional publications program, not only exliibition but collection
catalogues. A number were v/ritten by Lanier himself, others by various
staff members and a few by visiting guest curators. The pace was ambitious
and eventually overwhelming for one person. In part, the solution to the
problem has been to divide the burden of the job by creating a new position
of Publications Manager funded by the Museum Society, In this capacity,
the production of the publications is being handled capably by Ned Engle.
During the last several months, great strides have been made in the area
of personnel and administration and the credit goes to Ron Egherman v/ho
has brought to the job a measure of creative thinking which has been missing
for many years from this area of museum operations. One of the accomplish-
ments of the year was recognizing the considerable potential of volunteer
assistance available to the Museums, organising it and utilizing it in a
broad spectrum of tasks. A by-product of the effort was the organising and
writing of the Volunteer Handbook of policies, regulations and practices
for the operation of the Museimis. Chuck Mills was largely resporjsible for
compiling this information which also formed the basis of Joanne Backman's
work on a similar employees handbook which we expect to publish next year.
- ii -
Important also was the isstiing of a written Acquisition Policy for works of
art developed by the Acquisition Committee on the recommendation of staff
and approved by the Board of Trmistees, At the request of the Museum Society,
a study was imdertaken jointly by the Art Department of Stanford University
and the Stanford Law School resulting in a Curatorial Code of Ethics. The
study deals not only with the specific question of fees and royalties to be
paid to curators for their publications but with the broader subject of the
ethics of curatorial behavior, Althougli the Museums have not adopted any
of the recommendations of the study as yet, the work was brought to the
attention of the museum profession by the Association of Art Museum Directors
at its annual meeting in June.
A very profound issue came under discussion concerning the role of the
Docent Council in the reorganization of the Education Division, namely the
autonomy of a volunteer organization. The problem was not resolved at the
end of the reporting period but the indication was clear that the Board of
Trustees sets the policies for the Museums and the volimteer organizations
such as the well established Docent Council or the newly established Bay Area
Graphic Arts Council would have to adjust their bylaws to be in step with
the policies of the Board of Trustees.
A great deal of progress was made in getting out the story of the Museums,
most noticeably in establishing a degree of rapport vn.th City Hall which the
M-useums have never enjoyed before. The very tangible positive result was a
modest increase in the annual operating budget which included several much
needed new positions. In the Spring the Museums agreed to the demands of
the Art Workers Coalition to participate in an unprecedented meeting in which
the Museums would discuss their policies in an open forum. In preparation
for the meeting planned for early July, the staff compiled a descriptive and
statistical profile of the institution. In this continuing process of self-
evaluation and repoi*tage, greater and expanded use of this Anniial Report is
contemplated. Principal credit for the more readable format goes to its
editor, Ned Engle. Its production has been well executed as usual by
Earl Anderson. I hope the report is a fair indication of i\7hat continues
in my opinion to be a very dynamic department.
Ian McICibbin V/hite
Director of Museums
- iii -
DEPARKffiNT OF ^^JTRICA, OCEAiaA AM) THE AlfflRICAS
This year, the major efforts of the department have been directed tov/ards
the creative utilization, development, maintenance, and interpretation of
our collections. To this end, we have presented five exhibitions, completed
two major permanent gallery reinstallations, added over 400 objects to our
permanent collection, and endeavored to explore a number of new interpretive
approaches and educational programs.
Exhibitions
The year began in July va.th the opening of 'Fire, Earth and V/ater:
Sculpture from the Land Collection of Mesoamerican Art a major exhibition
at the ualifornia Palace of the Legion of Honor whicbTincluded over l4o
objects, a fully illustrated l4o-page catalogue with scholarly essays, an
audio-visual presentation explaining the cultural context from which the
objects came, extensive labels which challenged people to draw their own
conclusions about the objects before them (after receiving clues as to ivhat
they might mean) , and an atmospheric installation evoking Maya architect-ure
and environment. Docent tours were given six days a \7eek and several
musical programs v/ere planned around the exhibition, Tlie catalogues sold
out and the exhibition proved so successful that it wels extended until
December. It was circulated to the Honolulu Academy of Arts, and then to
the Seattle Art Museum,
In October, an exhibition celebrating the Mexican Day of the Dead was on
view in our Introductory Gallery; it included a simulated Oaxacan altar,
a number of religious objects and offerings, examples of special candies
and breads, and a variety of children*s. toys and games (75 objects total).
Labels relating the customs, history and significance of the celebration
were written by Yolanda V/oo, owner of the collection. A poster was designed
to publicize the exhibition.
A cross-cultural exhibition of jewelry followed in the Introductory Gallery
space’ in February, which included over 8o objects primarily dra\ni from the
Museum’s ovm collections. The labels in this exhibition took a rather novel
interpretive view, encouraging people to think about some of their o’^m
motivations for wearing jewelry, the variety of materials from which jewelry
can be made, where it can be i/orn, and the feelings that a particular piece
of jewelry might inspire,
A new exhibition space was created by covering a wall in Gallery H with
dark brown burlap to permit changing exhibitions of tv/o-dimensional objects
which relate to our permanent collection, T-wo photographic exhibitions by
Bay Area artists took place this year, 'Photographs of V/est Africa by
Lucas Kiers included 21 superb black and v/hite photographs of v.'est "African
people showing cultural continuity and change. The Otavalo ' by Benna
Kolinsky was a different kind of exhibition - a photo essay documenting
the traditional life processes of an Ecuador Indian group ;d.th which she
lived. The 51 photographs were grouped according to themes, and exter^sive
labels were provided which documented traditional ciILture and change: a
personal view as seen by Benna Kolinsky in 197^,
- 1 -
AFRICA « OCTANIA APID THE ATiEniCAS (continued)
Two major reinstallations took place in oiir permanent gallery this year,
and v/e are gradually replacing loan objects with new acquisitions. In
July, five cases were changed in the Precolumbian section, and 37 new
objects were added. In August, sijc more cases v/ere reworked (Southwest,
Eastern Guinea Coast, Yoruba, Guinea Coast - Ivory Coast, Peru, and
Polynesia) and over 20 new objects were installed. Both times the label
panels were largely rewritten to accommodate new changes, and in the process
a new system for label production was developed in conjunction with our
Graphic Design Department.
This year we also utilized the seating area of the permanent gallery to
display textiles from each of the four major culture areas ive represent,
and we have also maintained our Recent Acquisitions case.
Collections
This year we have been very conscious both of seeldng new objects to fill
gaps in the collection and of utilizing our existing collection in the most
beneficial way possible. V/e have received over 100 donations this year,
plus a collection of over 370 goldv;eights from A.frica« V/e have made several
exchanges with galleries and museums to trade deaccessioned objects (for
which v;e have duplicates) for items that v;e do not have. Exchanges have
talcen place vn.th the Lowie liuseum of Anthropology, The James V/illis Gallery
and Galleiy Anushlca in Amsterdam.
V/ith the extensive help of the Registration Department we have inventoried
and catalogued over 16gO Precolumbian objects of minimal aesthetic or
archaeological value, and loaned them on a long-term basis to the San
Francisco Unified School District where they will be used in classroom
study kits. V/e have also given objects to oin* School Program for use by
cur docents.
Collection maintenance, research and documentation continued. For example,
a new system for storing small items such as goldweights v;as devised and
implemented. Since we have received so many donations, we have made a con-
certed effort to update our photographic and slide records.
Prof?rams, Planning, and On-going Research
In conjunction vn.th the Environmental Science Center of the San Francisco
Unified School District and our Docent Coordinator, a program was planned
wherein 8 gifted 9th grade students v/ere trained to give tours to elementary
school children. During the months of February and March, these tours
reached over 27 classes. The focus of these tours v/as animals and environ-
ment, with an "African Safari" theme. Evaluations of the program by par-
ticipants and teachers were positive.
- 2 -
AFRICA, OCSANIA AKD THE AMSKCCAS (Continued)
A film supported hj National Endowment for the Humanities on a Pomo basket-
maker, Alice Elliott, was finally completed this year, and v;on a national
film award. Fne film is being used by our school docents and we hope even-
tually to make it available to school districts.
We continue to receive enthusiastic responses and requests for the Intro-
ductory Gallery audio-visual program. This year v/e compiled an information
sheet which is sent out to interested people, on the music used in the shew,
V/e have also compiled a guide to Bay Area galleries concerned with ethnic
art that v/e send out upon inquiry.
Research and planning was initiated for an exhibition of Huichol Indian art
to complement the Musemn's collection. Material was previewed in the Smith-
sonian film archives, as were Huichol collections in New York, New Mexico
and California. Several funding sources were approached and a number of
scholars were contacted.
Staffing
One major difficulty this department has faced since its inception has been
staffing. The Museum Society alleviated the problem on a temporary basis
by providing funds for a full-time Assistant Curator. This position v/as
needed for the continued maintenance of the department. Projects which
otherwise v/ould not be accomplished are planned for the coming year.
Thomas K, Seligman
Curator in Charge
Department of Africa, Oceania
and The Americas
Kathleen Benin
Assistant Curator
Department of Africa, Oceania
and The Americas
- 3 -
DEP.-\RT!'lEin' OF DECORATIVE ARTS
Tho year was inarked by a number of importairb additions to the peimanent
collection:
RQSCOE ADD MARGARET OAICES FQTTNDATION;
Triptych (’’Entry into Jerusalem, Last Supper, Washing of the Feet”)*
Tapestry. Flemish, ca* 1^0; and the exchange of 7 tapestries.
Covered Porringer & Stand. Silver* English (London), 1662* leaker R,F*
CHARLES E. MERRILL TRUST, through the I^gowan Decorative Aits Fund;
Fair of Mirrors & Console Tables* Wood, carved and gilded* English (London),
ca. 1765* Carved “by John Linnell. (Article on and pictures of these gifts
were published by Helena Hayward in the January 1976 issue of Connoisseur
magazine* Adding to their interest and importance is the fact that Linnell *s
origiml drawing for these mirrors and console tables has survived and is new
in the Victoria & Albert I^useum, London*
Sofa, Mahogany* American (New York), ca* I83O
Settee, Mahogany* English (London), ca* 1780*
GIFT OF imS* J. A* CON^TERSE IN MEI^IORY CF HER HUSBAND;
Card Table* Roset-rood with brass inlay* American (New York), ca* I835*
GIFT OF IffiS, JOHN E. AND ROSS MAGNIN (transferred to the Museum upon the
death of Rose lignin. This large gift included many important paintings
and objects of decorative arts, including French Medieval and Renaissance
enamels, furniture. Oriental porcelains and Italian majolica as well as a
number of sculptures.
The architectural enrichment of Galleiy 17 at the de Young Museum (financed
by the Museum Society Auxiliaiy) was completed and the galleiy installed as
a divided period setting devoted to Queen Anne and Hepplewhite furniture and
English paintings of the period* The two hall cases flanking the entrance
to Galleiy 17 were re-installed with English earthenware, stoneware and
porcelain, making this area a totally English experience*
During the year under review? the Textile Conservation Laboratoiy has washed
seven tapestries arjd completed work on five in preparation for the November
(1976) Thpestiy Exhibition at the Legion of Honor, After completing a year
of study abroad, Bruce Hutchison was appointed Supervisor of the Tapestiy
woikshop replacing Renee Fkrsh who had been Acting Supervisor during his
absence* Ffrs* Anna Bennett has completed work on the catalogue of our
important tapestiy collections 5 the material for this ambitious publication
is now in the hands of the piintera* Ralph Bennett wrote and illustrated
with dravTings a brochure entitled ’’Tapestiy Conservation Equipment in The
Fine Arts Museums of San Francisco”, 'Bie 20-page brochure was sent to 35
museums throughout the count ly which have textile conservation departments*
D* Graeme Keith, Curator in charge
Decorative Arts
-1; .
DEPAETOENT OF EXI-IIBITIOUS
The Department of Exliibitions is responsible for all aspects of the physical
installation of works of art, both temporary exliibitions cvnd permanent gallery
installations, in the Museums. In addition, the Department worlcs vn.th the
Education Department to coordinate the production and use of interpretative
material prepared for e:d'.ibition use. The Department also works with other
departments in the preparation of catalogue materials and maintains the master
exhibition schedule for several years in advance. The Department may also be
responsible for the direct organization of temporary exhibitions. The Depart-
ment is involved vn.th the supervision of lighting and arcliitectiaral changes
for temporary and permanent exhibition spaces in both buildings.
During the Fiscal Year 1975-1976 the Department of Exhibitions was involved
with the planning, coordinating and mounting of 33 temporary exhibitions, in
addition to re-installations of some of the museums’ peivnanent galleries.
Two of the exhibitions. Master Paintings from the Hermitage and State Russian
Museum, Leningrad, and American Art: An Exhibition from the Collection of
Mr. and Mrs. John D. Rockefeller 3rd required the greatest amount of space,
time, and staff energy in organizing and planning. It v/as anticipated that
the collection from the Hermitage and State Russian Museum would attract the
largest crov/ds, but the unexpected City craft v/orkers strike forced the museum
to close for a time and curtailed public transportation.
The most noticeable change in our permanent galleries v/as the opening of the
English Rooms at the de Young. Although the Classical Gallery (Gallery One)
v/as scheduled to open this year, the strain of our active exhibition schedule
forced the delay of this project which now will open in September 1976.
Some improvements were made to the deteriorating physical plants, v/ith a new
lighting system iristalled in Gallery 13 at The California Palace of the Legion
of Honor. The floors in the de Young’s temporary exhibition v/ing were stripped,
sanded, and stained, and all of the ceilings v/ere painted. The addition of
ten modules to our stock of exliibition furniture became necessary, as the
size and scope of the exhibitions increased. The completely revised system
of internal musevim graphics is undervi/ay, with a scheduled debut in August
1976. The museums galleries ;d.ll be more clearly identified and keyed to a
map available in each museum.
The small but vigorous exhibition program of contemporary Bay Area art
continued as we instituted a series of programs called "Meet the Artist”
in which an artist appeared in the galleries to speak informally vnth museum
visitors and ansv/er questions about his or her art.
An information packet about The Fine Arts Museums of San Francisco v/as
researched and prepared by Susan Levitin (Assistant Curator of Sxhibitiorjs)
and Susan Melim (Administrative Assistant) for a meeting with the Artv/orkers
Coalition, It v/as the first time a definitive "balance sheet” for the museums
had been made public dealing v/ith their governance, funding, staffing and
programs.
- 3 -
DSPAl^-lTnuIT OF ILvHIBITIONS (Continued)
T)ie Depai'tmoiit is pleased to armoiuice the creation of a new City-f-unded
position for the Assistant Curator of Exliibitions , thus relieving the Museum
Society of the financial burden. The funding for this position, held by
Suscui Levitin, \^dll begin July 1, 1976. Michael Cox xvas appointed to the
new part-time position of Exliibition Manager, created by the Museiim Society,
Beginning August 1st he will serve as liaison person and coordinator for
all museum installations.
Adequate staffing remains our most critical problem. Our small crew of five
Preparators, assisted on a temporary basis by a C.E.T.A, employee, is res-
ponsible for installing exhibitions in over 100,000 square feet of gallery
space. As the exhibition program escalates in quantity and content, the
sise of our prepara torial crew has become so glaringly inadequate that it
has been necessary to hire additional crew members on a temporary basis
from exhibition to exhibition. The need for ne\j preparator positions must
be acknowledged as one of the most crucial problems to resolve in the coming
year,
A listing of the temporary exhibitions mounted in The Fine Arts Museums of
San Francisco follows.
Thomas H, Garver
Curator of Sdiibitions
- 6 -
TEMPORAHT EXHIEETIOJK 197^-1976
California Palace of the Legion of Honor:
FIRE, EARTH & WATER: SCULPTURE FROM THE LAND COLLECTION OF MESOAIIEIRICAN ART
July k - September lii
Approximately 1^0 Pre-Columbian works of art from Mexico and Central America,
selected from the collection of Louis K* Land.
JOSE LUIS CUE7AS August l6 - October 12
Recent drawings by a Mexican artist xjho works in the Spanish tradition.
AFGA - RECENT ACQUISITIONS Au^t l6 - September 28
An exhibition of recent acquisitions of the Achenbach Foundation for Graphic
Arts including more than forty prints and drawings from the l6th Centuiy
through the 20th Centuiy.
CALLIGRAPHY September 20 - October 26
An exhibition of historic and contemporaiy calligraphy, drawn primarily from
the Special Collecrbions Department of the San Francisco Public Library.
ELEANOR DICKINSON LINS DRAl/IENGS October 8 - December li;
Line draxdngs of nudes by the winner of a one-person show at the 197h San
Francisco Art Festival. Ihe artist taught drawing classes in the galleiy,
using live models.
WOlffiN ARTISTS: REVIEW AND RECOGNITION October 11 - December 28
A selection of prints, paintings, drawings and sculpture by women artists,
from the permanent collections, spanning the l6th to the 20th centuries.
ARTISTS » PORTRAITS AND SEIF PORTRAITS FROM A PRIVATE COLLECTION
December 20 - Februaiy 22
Prints by Rembrandt, Jacques Villon, Augustus John and Leonard Baskin,
selected from a private San Francisco collection.
ARTISTS » PORTRAITS AND SELF PORTRAITS FROM THE ACHENBACH FOUNDATION FOR
GRAPHIC ARTS December 20 - April 2^
Prints ty Goltzius, Rembrandt, Kaethe KoHwitz, Grant Wood, Max Klinger,
Jim Dine, Robert Bechtle and others.
PRIinS BY EDGAR CHAHINE January 10 - Februaiy 29
90 etchings dating from 189^ to World War n shoxving genre scenes of Paris
at the turn of the centuiy. The etchings are from the collection of Albert
Nalbandian of San Francisco,
THREE CENTURIES OF FRENCH ART January 22 - June 27
One hundred paintings and sculptures of the 17th, l8th and 19th centuries,
loaned by the Norton Simon Foundation and Norton Simon Inc. Foundation,
reinstalled to coincide with the publication of Volume H of the catalogue.
TSUTSUMU: THE ART OF THE JAPANESE PACICAGE tferch 13 - May 9
Approximately 200 examples of the art of distinctive packaging in Japan that
has developed over thousands of years.
- 7 -
T.2 TCP^XKY TICMG
Cnlifornia Palace of the Legion of Honor (Continued)
MASTEH PAINTINGS FROM T^IF. HLRI-HTAGS AND STATE RUSSIA!'! MUSEU14, LENINGRAD
March 2? - May 9
A selection of 43 masterpieces of l/estern European and Russian paintings from
tl^e collections of the Hermitage and State Russian Museum. Included in the
e:diibition are v;orks by Caravaggio, Rembrandt, Rubens, Van Dyck, Gauguin,
i'latisse, Picasso, Bakst, and Repin.
•rjRN OF TI!E CENTURY AIIERICAN POSTERS: THE ARTHUR U. BAPLIEY COLLECTION
May 22 - July l8
An exliibition of over 70 posters illustrating America at the turn of the century,
DRA\/INGS BY GOPUON 3ALDV/IN May 22 - June 2?
Pen and ink drav/ings by a Bay Area artist rendering his personal fantasies in
detailed, precise, representational images,
WOOD SCULPTURE BY RAY SELLS June 19 - August 15
Sculpture emphasising the inherent texture of laminated xvood by a winner at
the San Francisco Art Festival,
DALE ERICICSON June 19 - August 15
Representational drawings and prints of capped objects and forms by a Bay
Area artist who is the recipient of a one-person show award at the San
Francisco Art Festival.
M, H. de Young Memorial Museum:
JOSE BERNAL RAI'IOS July 4 - August 17
Photographic essay of life in the Salinas Valley by a winner of a San Fran-
cisco Art Festival av;ard for a one-person shov/,
IMAGES FOR ETEPIIITY: THE ART OF AI!GIENT EGYPT July 26 - October l8
120 works, "on loan from the Lov/ie Museum of Anthropology and The Brooklyn
Museum; sculptxire and decorative arts from the entire 3000 year span of
Egyptian art.
LEIRNY SILVERBERG August 23 - October 26
V/atercolors by a Bay /area artist who combines drav^dng and color washes,
producing paintings that suggest representations of living tissue. Silverberg
appeared in the gallery as part of the continuing program, "Meet the A-rtist".
COILLE HOOVEN August 23 - October 26
Vdiite porcelain bowls, cups, teapots and other objects decorated with fantastic
animals, by a Bay Area sculptor. The artist appeared in the gallery as part
of the continuing program, "Meet the Artist",
lEMPORARI EXHEBITIOr©
M. H* de Young Memorial Ifeeum: (Continued)
CHRISTO’S RUmUHG FENCE: A PROJECT IN PROCESS August 30 - October 12
An ffichibition of drawings, collages, documents and photographs with accompany-
ing text to record Christo ’s proposal to construct a 2I4. mile fence across
part of Sonoma and I-krin Counties from east of Highway 101 to the Pacific
Ocean. Christo participated in the "Meet the Artist" program,
DAY OF THE DEAD October 28 - January 30
A reconstruction of a Oaxacan altar for DIAS DE LOS MUERTOS, surroimded by
associated religious objects, toys, food and offerings typical of this im-
portant observance in Mexico,
INTRODUCTION TO PAINTING COl'SSRVATION November - April 15
Special informative material including photographs, text, and pigment analysis
of the recently completed treatment by the Museums ’ painting conservation
department of LUCRETIA by Joos van Cleve.
CLAYTON BAILEY: WONDERS OF THE WORLD ICTSEUM November ^ - January 11
A Bay Area Funk artist ’s satire upon tum-of-the-century archaeological
and natural history museians, dajrbon Bailey appeared in the gallery as
part of the "Meet the Artist" program,
SM RICHARDSON: LIGHTLINE November l5 - January I4.
A work created in the museum by a Bay Area sculptor. The public was invited
to observe the construction in progress,
THE FOOD SHOW November 22 - January 25
A collection of foods (augmented by photographs) intended to shoc-r the multi-
cultural composition of San Francisco,
ART AND THE I^TTEN WORD: AN EIHIBITION OF DOCUMENTS FROM THE ARCKTTES OF
Al-IERIGAN ART December 6 - February 15
Historical documents of national significance, including correspondence of
well-known artists,
ROBERT CRETffiAN SCULPTURE January 17 - iiarch lit
Two autobiographical pieces by a Bay Area artist, HOMAGE TO PAUL APOSTLE in
marble, and VATICAN CORRIDOR in wood,
ORANGE CRATE LABELS February 7 - March 28
Approximately UOO labels, augmented by photographs, from the late 19th century
to World War II, most designed and printed in the Bay Area,
PHOTOGRAPHS OF WEST AFRICA BY LUCAS KLEES February 12 - May 12
100 black and white photographs that portray daily life of many West African
tribal people, by a Bay Area photographer.
r:y^>o?^A^^Y zxiiidi ticms
M, 11. de Youn^ Meinorial Museiim (Continued)
AlCn^ICAIJ ART: AI'I EXHIBITION FROM THE COLLECTION OF MR. AND MRS.
1.1 OHN D. ROClvEFELLER April 17 - August 15
106 worlcG, including painting, d^a\^^.ng, watercolors and sculptures, selected
from the collection assembled by Mr. and Mrs, John D, Rockefeller 3rd. The
exliibition includes major works by American artists such as Copley, Feke,
Sinibert, Johnson, Peale, Eakins, Homer, and Wyeth,
MURAL PROJECT May - August
A fantasy of the future in mural form measuring sixty feet long and sixteen
feet liigh, against the northeast v/all of the de Young Museum, by artists
Johji Wherle and John Rampley, The mural shows a section of the James Lick
Freev/ay complete v/ith cars and the skyline of the City, but the scene is
completely devoid of humanity and is populated only by \dLld animals now on
the endangered species list.
PHOTOGRAPHS BY BENNA KOLINSKY June through September 26
An e:diibition documenting the traditional life of a small group of Indians
in Highland Ecuador,
- 10 -
DEP*y^TI”lENT 0? PAINTING SCULPTIIRS
Durinc 'the year 1975-1976 Vol. II of the catalogtie of the Norton Simon loan
was' completed. Tliis publication, becun in 1975 1 catalogues and illustrates
52 paintings in addition to the worlcs included in Vol, I, It became avail-
able at the opening of the third and last installation of the Simon collection
which opened January 22, 1976, As of the closing of the period of this report,
preparations have been made for the return of the collection after the exhibit-
ion closed on June 27, 1976.
Simultaneously, planning was under way for the re-installation of the Simon
galleries with 19th century material from our French collections. Included
in the installation will be decorative arts and sculpture as well as paint-
ings.
A survey was made of all paintings in the Museums' collections to classify
them as being of exhibition quality, for study collections or recommended
for ’’de-accessioning”.
In cooperation xd.th the registration dep£irtment, numerous loan requests for
art works \/ere processed. This involved the recommendation to the Board of
Trustees as to the granting of a loan, the arrangements for condition reports
from the conservation department and the determination of values for insurance
purposes.
Effective January 31* 1976, F. Lanier Graham, Chief Curator and Curator-in-
Charge of the Painting Department, resigned. V/illiam H, Eisner, Ciirator in
the department, was named Acting-Curator in charge. Mr, Graham, who had held
his position in the department since May 1970, re-organized the housing of the
collections on the basis of "school". Thus all v;orks of French origin are nov;
housed at the California Palace of the Legion of Honor v/hile all other schools
are housed at the M, H, de Young Memorial Museum.
William H, Eisner, Curator
Department of Painting and
Sculpture
- 11 -
PAIIITIIIG COMSEPVATION L;U30r?iiT0RY
One of the major accomplishments of the laboratory was the special exhibition
about painting conservation at the de Young Tiasterpiece Gallery from
November 1975 to April 1976. Based on the recently completed restoration
by this department of Lucretia by Joos van Cleve, it presented didactic
material and photographs of the different aspects of painting conservation
to acquaint the public v;ith the principles and practice of museum painting
conservation. Tliis is the first time in the Museums’ histo2ry that such
material was made available to the public; the response of the public and
the press was very favorable, and it has been requested for loan by another
museum.
The planning for the new lab and the purchasing of additional equipment
(from National Endowment for the Arts funds) v/ere given priority in
anticipation of the move next year, Ne\7 equipment has been put to good
use in the complete technical and analytical examination of paintings,
including those being considered for major treatment and acquisition, and
the recently acquired paintings from the Rose Magnin bequest. Detailed
examination consists of visual, microscopic and analytical examination and
documentation, including the use of ultraviolet, infrared and x-rays.
For each loan exhibition during the year (Rockefeller, Russian, Norton
Simon collection) , paintings had to be thoroughly ir^pected for condition
upon arrival .■& 'departure, with frequent inspections during their stay here.
Tliis department is responsible for any treatment they may require. In order
to minimize the time v;hich ordinarily has to be spent on paintings on loan
that arrive at the Museums in poor or damaged condition, a different procedure
v/as established foi the Rockefeller loan of American paintings. As they had
not been under a conservator’s care, I went to Nev/ York to inspect and record
their condition, and do whatever work was necessary to prepare them for
traveling, Tliis no doubt resulted in a considerable saving of time and
liability, and prevented potential harm to them in shipment.
In preparation for the opening of the American V/ing next year, major con-
servation v/ork was centered on our permianent American paintings, V/ork on
the Magnin paintings v;as started, but since each of them is in need of
major treatment, only technical examinations, emergency work and some cleaning
has been possible to date. Lesser treatment, though time-consuming as well,
v;as given to many paintings; these were mainly damages which occurred in the
museums. In August, I carried out a survey to measure light intensity and
other factors in both museums with all heating and most artificial lights
turned off.
Since improper framing can cause considerable damage to paintings, a project
was initiated two years ago to inspect and correct this in the galleries.
Due to lack of time, this could only be done intermittently vm.th the help
of volunteers; unfortunately so much time was spent training and supervising
them that the program had to be discontinued.
- 12 -
PAINTING CONSERVATION (Continued)
As a public service to other institutions, I supervised in a pigment
analysis project an intern from the Nev; York University School of Conservation.
I was also guest lecturer on conse3rvation the past two years at seminars
sponsored by the University of California-Lowie Musevim.
Upgrading the department to today* s professional stcindards and the application
of modern scientific methods in the conservation of paintings has meant that
the department’s worl-cload has trebled since 1970. Tne department is oven-zorked
and there is increasingly less time available for the work on paintings in the
Huseuras’ permanent collections, I have estimated that the amount of- v/ork
necesscury to properly conserve them (aside from the normal household care)
would require a staff of five conservators (three painting conservators and
two technical assistants) for five years. (The Magnin paintings alone would
take a conservator several years to complete). It is imperative that
additional help be given this department.
Teri Oilcawa-Pi canto
Painting Conservator
- 13 -
ACH3JEAC!I FOUTIDATIOri FOR GR^'J^IIIC Ai^TS
In 19^0 Ml*, and Mrs, Moore S, Achenbach created the Achenbach Foundation for
drapliic Arts (AFGA), and presented their entire collection of prints to the
City and County of Gan Francisco, with the provision that it would be housed
in the Legion of Honor. Tlie Foundation is, in effect, the Museums* department
of prints and drawings, \\rLth the largest graphics collection in the western
United States. It houses not only a systematic representation of the history
of printmaJclng from the 15th century to the present (vd.th approximately 100,000
prints) but also nearly 2,000 drav;ings, a collection of illustrated books, and
an e>xollent reference library of more than 3j000 volumes.
Ihe graphics collection has been substantially increased through an ehdov.mient
bequest of the Achenbachs and by generous benefactions of other donors. AFGA.
undertook an active program in 1975-76,
acquisitions.
1. EXHIBITIONS
Ruth Lilienthal Memorial Exhibition
kprll 19- July 8, 1975:
P-odin Gra-phics
June 10- August 10, 1975 i
F.cdin’s Contemporaries
June 25- August 10, 1975:
Acquisitions - 197^ - 1973
Au{^st l6-September 28, 1975 :
including exhibitions and further
93 Items of Painting, Sculpture,
Dravrijigs and Prints; the 1975 Bequest
of Ruth Haas Lilienthal to the Calif-
ornia Palace of the Legion of Honor,
incorporating v/orks from the old masters
to the contemporaries.
6k Graphics (Prints and Drav/ings), 3
Sculptures, 9 Books, illustrating the
graphic vrork of the French artist,
Auguste Rodin, accompanying an illustrated
catalogue raisonee of Rodin’s graphics,
l4l pages, by Dr, Victoria Therson.
20 Prints by the French Contemporaries
of Auguste Rodin: Albert Besnard, Eugene
Carriere, Alphonse Legros, Camille
Pissarro, Puvis de Chavannes, Odilon
Redon, Pierre Auguste Renoir and Edouard
Vuillard; to correlate \\d.th and comple-
ment the Rodin exhibition in the adjoin-
ing gallery,
55 Prints and Draiangs acquired in the
last eighteen months to this date by
pirr chase and the gifts of various bene-
factors, but excluding those of the
Lilienthal bequest which was exhibited
earlier in the year, comprising a small
selection of the total of some 600
acquisitiorxS for the period.
- 14 -
AGHENBACH FOUT-IDATION FOR GRAPHIC ARTS (Continued)
Jose Luis Cuevas - Drav;in>'?s
August l6-Septsniber 2o, 1975:
51ea.nor Dickinson - Drp/ings
October 8 - December 1975:
Artistes Portraits & Self-Portraits
December 20, 1975-February 29 j 1976:
Artist’s Portraits u Self-Portraits
December 20, 1975-February 29 j 1976:
Edfcar Cliahine - Prints
January 9-February 29, 1976:
Japanese Ukiyo-e Prints
March 13-May 9, 1976:
liirn of the Century American Posters
May 22-July l6, 1976:
82 Recent Pen and Mash Dravn.ngs by tlte
contemporary Mexican Artist, Jose Luis
Cuevas, a circulating exhibition organ-
ized by the Phoenix (Arizona) Art
Museum, sponsored and e:diibited at the
Phoenix Art Museum, Fine Arts Gallery
of San Diego, Achenbach Foundation at
California Palace of the Legion of
Honor, Bienal de Sao Paulo, Brazil,
and Museum of Contemporary Art, Mexico
City.
100 current line drav/ings in a constant-
ly changing exhibition v/ith the artist,
a 197^ San Francisco Art Festival Av/ard
winner, at work, dravd.ng from models, in
the exhibition gallery, A 30 page cata-
logue \d.th full page illustrations was
published.
78 Prints, ranging through most of the
print media, illustrating hov; artists,
from the old masters dovm to the con-
temporaries, have seen themselves and
other artists,
16 Prints borrovred from a San Francisco
collection to complement the above
exhibition.
90 Period fraiTied prints by the late
Armenian-French artist, Edgar Chahine,
borrov/ed from the San Francisco col-
lector, Albert Nalbandian,
15 Japanese Color Prints by the master
artists of the Ukiyo-e school, to com-
plement the Tsutsmu exhibition of
Japanese packaging,
80 Posters by a number of American art-
ists v/hose v/ork regularly appeared at
the turn of this century in national
publications such as Harper’s, Century,
Scribner’s, Lippincott, and others, all
from the recent bequest of the Arthur
Barney collection.
- 15 -
ACIIENBACH FOUNDATION FOR QRAFEEC ARTS (Continued)
DravrLnrrs by Gordon Baldvrin 2^ Precise Pen and Ink Draijings ty an
’iviy 2*2 -July lb, 11^7 b: artist of the San Francisco Bay Area,
197^-1976 Fiscal Year Totals; 12 exhibitions, comprising 718 objects of art.
n.
Following is a summaiy of the loan activity of the Achenbach Foundation for
the 197^-1976 fiscal year; a coii^lete listing is found in Appendix I
13 Loan& lent Out - lUS Items, li; Destinations,
II4. Loans ^ AFQA - UoS Items, 27 Sources,
27 Loans, 556 Items, Ul Sources and Destinations,
in, ACQUISITIONS
For a complete listing, see Appendix I
A. Gift A.cquisitions
1, DraTmigs - 8 drai'iings from 7 donors.
2, Prints - 266 prints from 19 donors,
B, Purchase Acquisitions
1, Draxd.ngs - U draxdngs,
2, Prints - 66 prints from 11 sources,
IV, GIFTS TO THE ACHBNBACH LIBRABY
7 books and miscellaneous equipment; see Appendix I
V, TOTAL DS-ACCESSIO^S
21 items; see Appendix I
VI, BAT APEA GRAPHIC APTS COUNCIL
The Bay Area Graphic Arts Council sponsored a varied series of events over
the past year. Some of these events included the reception for Robeii: Flynn
Johnson as the new curator of the Achenbach Foundation for Graphic Arts,
opening reception for the Edgar Chahine exhibition, lecture by Joseph R,
Goldyne on Turner water colors and lecture by Robert Futernick on care of
xvorks of art on paper. In addition, there were Saturday morning roundtable
discussions in the Achenbach libraiy on Japanese woodcuts, American prints
and Italian Old 1-^ster Draxirings, For more infoniiation on the Bay Area Graphic
Alts Council see the Iiuseum Society’s report,
Robert Flynn Johnson
Curator-in-charge
Achenbach Foxmdation
for Graphic Arts
- 16 -
REGISTI?AR'S REPORT - M, H. de Yoiing Memorial Museum
The 1975-1976 fiscal year proved to be atypical when compared vd.th past
years at the de Young Museum, An increase in scheduled exhibitions, nev/
departments with added personnel, the de-accessioning project and the fact
that over one-half of the museum was under construction added up to
unparalleled diverse activities affecting the whole museum in general and
the Registrar’s Office in particrular. These activities may be divided into
three sections:
Routine Procedures
The Registrar continued to receipt, number, catalogue, insure safe housing
and handling of and return of all incoming/outgoing gifts and extended
loans to the permanent collection; arrange for the pick-up, receipt, safe
keeping and return of all temporary exhibitions; be responsible for all
storage facilities; review the receiving, unpacking, crating and shipping
of all art objects; maintain the photography file and arrange for special
reproduction orders; supervise the museum vehicle and its scheduling;
and kept in order the Accession, Research, Archival, Uchibitions and 10
other file systems.
Some 10,255 objects in the above activities v/ere handled by the Registrar,
assisted in various degrees by 6 graduate student volunteers and 7 Docent
Council volunteers working for limited time periods, 1 driver/messenger
and 5 quasi-Registration functionaries (a Curator I in charge of basement
storage area, a Museum Shipper/Packer and the Museum Photographer).
In addition, the Registrar -personally prepared the monthly insurance
reports; handled damage and loss claims; conducted tours of his depart-
ment and museum facilities; made records available to scholars, students,
representatives from other institutions and qualified individuals; v/orked
with local representative on Smithsonian Institution’s bicentennial
project registering all American paintings in the country; ansv;ered
written inquiries and was available, in the absence of curators, to
answer telephone inquiries of a curatorial nature; continued to accompany
the transport of art objects of more than nominal value; and supervised,
in curators’ absences, the hanging of paintings or special movement of
art objects through the museum.
De-accession Project
David Hyry and Sharon Hanford v/ere hired tharough CSTA in mid September
1975 to help the Registrar v/ith the de-accession project. V/ork began on
paintings and decorative arts items from the Kress Basement Storage Area
in 6 galleries and hall areas closed to the public. In order to prepare
lists to present to the Accessioning/De-accessioning sub-committee of the
Board of Trustees vdien they came to inspect the objects September 20, 1975.
the procedure established (and used in the preparation of subsequent lists)
- 17 -
REGISTRAR'S REPORT - M, H. de Young Memorial Museiara (Continued)
consisted of: checicing each object to an accession number; where a number
e>d.stcd, checldLng records for donor, date of accession and any additional
information; and measuring and describing each object, \Vhere no numbers
were found, an arbitrary "X" number v;as assigned to the piece, and complete
accession records were made. The tedious aispects of the work and the frus-
ti'ation of trying to correct errors made by former staff members in access-
ioning records cannot be emphasized too strongly. The work v;as time con-
suming and exacting. For the betterment of the museum collection, however,
it vras a job that needed to be done, and it ^^ras v/ith this in mind that the
project v;as approached by those who v;orked on it.
At the September 20th meeting, 8 paintings, 5 pieces of furniture and
approximately 285 war relics were approved for ds-accessioning by the
committee, contingent upon final approval six months later.
During the remainder of 1975* 42^7 pre-Columbian objects were inventoried,
catalogued, photographed and listed, V/ith the approval of T, K. Seligman,
Curator in Charge of the AOA collection, on April 4, 1976, 3247 objects
were packed and sent to the San Francisco Unified School District on long-
term extended loan for use in the public schools. The remaining 100
objects ^^^ere left for de-accessioning or a possible loan to San Th’ancisco
State University, Also, between April 7th and May 27th some 8l5 oilental
objects v;ere transferred to the Asian Art Museum,,
The Spring of 1976 was spent readying objects for inspection by the Board
of Trustees. To stage the inspection properly: Gallery ?f9 was stripped
dovm and dressed for the occasion, special lists were made, four Preparators
(2 staff, 2 hired) spent one day arranging and the next day carrying objects
for viewing by the committee. Present at the July 22nd meeting were the
Director, 4 members of the Board of Trustees sub-committee, the Secretary
to the Board, 5 Curators, the Registrar, Miss Hanford, acting as assistant
to the Registrar and the 4 carriers, Tlie objects shovm were some 623 weapons,
132 paintings, 111 decorative art items, 175 books and documents, and 297
miscellaneous objects. These items, plus the ICOO AOA pieces, for a total
of 2,338 objects, were given initial approval for de-accessioning by the
committee to be viewed again in six months for final approval. The items
reviewed in September 1975. were given final approval at the Ji-ily meeting,
VJhen the Secretary to the Board filed her report on the event, some 36 pages
v/ere added to the Minutes Book of the Board of Trustees.
To complete the project, it remains to actually dispose of the objects
designated for de-accessioning - no small task in itself - whether it be
by public auction or fair trade as prescribed by official City policy.
V/hen this is done, approximately 6,698 objects will have been removed from
the museum as a result of extended loans, transfer or de-accessioning.
There were 7 personnel involved in the de-accessioning project; 3 Civil
Service, 2 CETA employees and 2 experienced v-zorkers hired for 2 days.
- 18 -
REGISTRAR’S REPORT - M. H. de Yoiing Memorial Museum (Continued)
Relocation of Permanent Collection and Other Museum Property from Areas
Desip:nated for Renovation and Partial Dismantling
In the Fall- of 1975 j T, K, Seligman was assigned direction of all preparations
at the de Young Museum necessary to clear spaces for remodelling in the
proposed building renovation. The Registrar, because of similar experience
at the Oakland Art Museum, during \7orld War II and elsewhere, was asked to
assist in. over-seeing the project.
Four men were hired on a contractural basis to help clear' the area 'and with
the help of one CETA Preparator the project commenced December 15, 1975*
Also participating, of course., . were various staff members v/hose departmental
areas were affected by the new construction. In all, 30,798 square feet of
museum space was affected by the renovation. Four used cargo containers,
each containing 1,536 cu. ft,, were purchased for storage. We also hired
the largest dumpster available, and by the time the piroject reached its
conclusion on March 23, 1976 some nine such -open containers had been filled
and carried away. A total of 8,308 art objects and salvageable pieces of
museum property v;ere relocated elsewhere by 2 Civil Service personnel, 1 CETA
employee . and 4 experienced workers hired -specially for the project.
In summation, in addition to many activities not reducible to numbers, the
Registrar -processed in detail some 10,255 objects in the normal routine and
6,698- objects in the de-accession project for a total of 16,953 items, and
handled personally - or supervised the movement of - some 8,308 items for a
total of 25,^61 for the period 1975-1976, He xvas assisted in various degrees
of capacity and for intermittent time periods by 5 Civil Service personnel,
13 volunteers, 3 CETA employees and 6 experienced workers hired by other
than City funds for a total of 2?. "
For a listing of objects handled by this office, see Appendix II.
Frederic Palmentier Snowden., Registrar
M, H, de Young Memorial Museum
- 19 -
Srr.TCTSAP'O K-POM' - losion of Honor
ao processins of Slloa^r?™ nfbf ", SeGistrar's tir,e.
descriotion a^d stSare S e^o- h fr.volves individual condition
of shipments, record!'Seotrp::/ insurance, aohednling
■help of badi; needed aSSlS
majority of the permanent" v ..,4. ^egisj:rcition of the non- traveling
voluateera ,.,ith Wns eirti^e Sd
originated exhibition''"of^mOTe thIn°iffpesolre-icln^"^^*^°^ T' "
object exacdnation notes were crStefalonv 1* f" Detailed
auseucs in Hawaii and Seattle- aMrneS ^ *0 aid the
upon collation of the ::-:;;-:;re1oSSLSd brS;
and foSarding'^S the^Sia^.literp^eo^
'^ntil it left again on inte^^a^io-^^ landed at rhe S^x prancisco airport
Ser\d.cas office^, Sal ^rtoiT* journ^ts, Registrar and Museum
escorted evei^ ;ippo^t^ Sinllnt Sheriff's Department
-e?s KgSs™ -hS:Se“E5S^^
l‘^iS°fL^bSrthnLsiS'"a^rSton^Sirf"-,""'"’'®’i?"'
16 separate aimort shipments of up tn ti. '‘°? ‘'°^ ooUeciions, and oversaw
the 116 Prench loth century raintiios Ipd 1®*®! Begirrins in June 1976,
Norton Simon Museum of '^VtVaehtn ^ sculpture being returned to the
Villiam Eoyd, and, at the reaues-“of^>-r"'® ®’^®^*^y '^ate'i BJ' Exhibit Packer
to every piaie, reques, of the owner, escorted by the Registrar
- 20 -
REGISTRAR'S PJ3?0RT - Legion of lionor (Continued)
In the fall of 1975* International V/omen’s Year, an ezdiibition of art by
v/omen artists v;as assembled by the Registrar entirely from the Museums’
collections. An initial survey yielded a list of 250 rarely shovm art works
of which 72 of mixed media were exhibited. Volunteers and Docents worked
with the Registrar to augment individual art object records and to research
6l v;omen artists’ careers over four centuries and in 11 countries. Gallery
talks by the Registrar and volunteer Ebdiibition Assistant Angela Rice were
given for interested Docents v;ho then gave public tours, some in sign-language
for the Deaf, The Registrar produced free bibliographic brochures available
in the exliibition. On three weekends slide talks, music, theater and poetry
by v;omen, scheduled by the Program Office, were hosted by the Registrar in
October and November 1975. Public response was enthusiastic.
Other projects to v;hich volunteers contributed time included: cataloguing
and creating I,D, photos of the .Arthur Putnam sculpture collection; labeling
of art storage areas for improved inventory control; preparation of a storage
room for eventual educational research use as an art Archives Room for older
museum records; updating records of exhibitions and intra-museum transfers;
answering correspondence and inquiries necessitating research into past
records; answering and invoicing orders for photographs of Museum objects.
The Registrar encouraged the following volunteers: Mary Long, Matt Hesemans,
Jay Bricker and Betsy Graham - undergraduate artists and photography students
from San Francisco State and Lone Mountain College; Linda V/atson, Toni Manuel
and Ann Rasmussen - -undergraduate art history and history students from San
Francisco State University and U, C, -Berkeley; Diane Dittemore - graduate
Anthropology student from Denver; Pat Donovan and Angele Rice - independent
M,A, Art Historians, Several Docents have also been of assistance in
internal registration v/ork as well as independent research.
For a complete listing of objects handled by this office, see Appendix III
S, DeRenne Coerr, Registrar
California Palace of the
Legion of Honor
- 21 -
irUSEU:-! LIBRAI^Y
As the fiscal year ended, the library v/as being greatly changed as part of the
larger remodeling program being carried out at the de Young I-Iuseim, bhUe
the current staff shortage vnll remain a problem, it is expected that the
ne\-r quarters v-oll be a great improvement in security and improved v/orkLng and
research conditions.
Use of the Library
Ihe library is used primarily by staff members and volunteers (including
docents). It also ser'.'ed 77 members of the public (students, scholars, other
researchers) by appointment during the last fiscal year.
Staff
mne library’’ cf The Fine Arts Museums is the only one in a museum of com-
parable size in the United States v;hich operates vri.th a staff of one.
Volunteers are helpful, but the need for a regular trained assistant is
urgent. The nurfcer of staff members and volunteers v;ho use the library
nncreases each year. The staff of the libra2:*3' does not,
^enbach Four4ation.Jpr. Grannie Arts Library
Approxinazely 2/3 of the total collection of 3500 books has been catalogued,
ms nas taken two years. The v/oric has been done by the librarian on a
once-a-v;eek basis, with the help of tv/o excellent volunteers. But maintaining
a cazalog^ae is a full tine job in most libraries; the work in the Achenhach
nas oeen done at tne e^rpense of The Fine Arts Museums library in the de Young
:nase''am, furthermore, the Aclienbach library is used by students and scholars
and reogoires the assistance of at least a part-time professional librarian,
Boplis Added to the Collection
By Purenase : 1^7
As gifts or Dy exchange ; 293
-otal: Zfhg
This represents fev;er purchases than last year, because the library budget
•mas frozen by the City in late 1975 » dhe rsumber cf catalogues received on
the exchange program, however, is higher this year. In 1575-1976 the
library sent 163 copies of 3 museum catalogues to museums and libraries in
she United States and abroad.
Periodicals: cl titles are currently received. This is a lov;er number than
last year (84 titles) due in part to periorUrals v/hioh have discontinued
p'aclishing, but due more to bndgehery cuts.
Jane Nelson, Librarian
22 -
EDUCATION DIVISION
As one of the three major divisions within the Iluseums, the Education
division is responsible for the use of the permanent and temporary col-
lections to teach the public about: the history of art and culture, the
appreciation of art, the mald.ng of art and the interrelationships between
different forms of arts. To this end the division has several departments
v/hich specialize in carrying out aspects of this responsibility. Each of
the departments (Program, Art School, Docents and Volunteers) has its ovm
report detailing its activities immediately after this report.
The activities of ray office have been broadened this year as the overall
programs of the Museums have continued to expand, Tlie primary areas of
activity have been in overall museum planning, long range planning and
reorganization of the Education division, special educational programs
for exhibitions, and intern and volunteer training.
This office has had a central role in the planning of the ne^^/ American V/ing
and galleries currently under construction, as v/ell as in helping to
formulate the long range development needs and plans of the Museums,
This year we have also finally developed signage for each gallery explaining
its contents as well as a map and gailery guide to help orient visitors to
the Museiiras and aid them in making the choices they v;ant to make for their
visit.
In terms of the long-range planning for the Education division, we have been
actively involved in trying to make our programs more responsix^e to the
public.
In the area of exhibitions, the educational programs that we put together
for the exliibition American Art from the Collection of Mr, and Mrs, John D,
Rockefeller 3nd v;as the most ambitious ever undertaken hj this Museum.
V/e sponsored 2 coinrses in American Art history at the University of
California-Berkeley, and Mills College, X’jhlch bussed the students to the
Museums on a regular basis to study the works of art, V/e also trained 10
students to give lectures on the exhibition; they gave over 50 free public
lectures to different groups around the Bay Area. V/ith a generous grant
from the National Endowment for the Humanities, v;e published a comprehensive
handout on the exhibition including an historical background, bibliography,
lists of programs at the Museums and around the Bay Area, V/e also produced
a program called /m American Sampler (See Program Department for full
description) and collaborated iidth U, C. Extension on a one-day scholarly
symposium on American Art.
Other exhibition-related activities have been varied. For the exhibition of
Ancient Egyptian Art, ■Tma.ges for Eternity , v;e produced an audio visual
program, a free brochure on the exhibition, sponsored two public lectures
on the art and collaborated v/ith U, C, Extension on a symposium. For the
- 23 -
EDUCATION DIVISION (Continued)
exhibition Fire, Earth and Water - Sculpture from the land Collection of
h'esoanerican Art, ue produced an a-gdio ^/isual program outlining the coin^lex
liistorj’- of Pre -Columbian I-Iexico as well as stimulating interpretative labels
for each object. After we remodelled trro of our peimanent English galleries,
we produced interpretative labels to stimulate the visitors ’ understanding
and awareness. For the exhibition Day of the Dead honoring the Mexican
festival, we developed interpretative labels arji worked with the San Fran-
cisco School Department on special workshops for students. An exhibition
called Introduction to I^inting Conservation x-ias developed to sho;-j hear a
painting is treated after it is damaged, and we developed extensive didactic
material for the exhibition including a free flyer handout explaining the
process. For Women A.rtists from the Permanent Collections, we produced a
free brochure, and for Three Centuries of French Art we developed intro-
ductor^r wall labels and used quotations from the artists concerning their
ait • For faster Paintings from the Hermitage and State Russian Museum,
Leningrad are prodraced a 2h-page free handout explaining each painting and
artist in the exhibition, based on a brochure oiigiTially publistied by the
Ilational Gallery of Art, Washington, D. C,
The last major area of involvement has been in the training in museum
practices of interns from various universities including U, C, -Davis,
U, C, -Berkeley ar^ Bernington College, the training of volunteers (including
the orgarization of a Volunteer Council), and the continued training of and
a-Tork ad.th Docents under the s’jpervision of a recently-hi2red Docent Coordinator,
The most irrmortant continuing aspect of this entire program aiill be in the
reorganization of the Education Division, using the results of public surve^^
on various aspects of the Museums * performance, so that the various depart-
ments are effectively working together at all levels to bring the best possible
programming to the public.
'Thomas K, Seligman
A-Ssistant Director
Education Division
- 2ii -
PRCGI?^M OFFICE
The progranHning for fiscal 1975-76 reflects our interest in developing a
closer relationship betv/een the Performing Arts Programs and the E:diibition
Programs to reach a v/ider museum audience and to enhance both the exliibitions
and the programs. Examples of that philosophy were reflected in the series
of programs related to the exhibition V/omen Artists and in the humanities
series entitled "An American Sampler: l8th and 19th Century Arts and Enter-
tainment," produced in conjunction with the exliibition of American Art from
the Collection of Mr, and Mrs, John D« Rockefeller 3rd, The American Issues
Forum awarded S6^5C0 to the Museums for production of a brochure for the
exhibition. In addition to these sizeable efforts, the program office was
involved in the production of many other events held in conjunction with
exhibitions ,
Vi/ith the advent of admission charges to the Museums, the program office
also instituted a 75^ charge to programs, V/e felt that most people v;ould
not readily give a donation at the Theater after having paid to get into
the building. The attendance at the programs was affected by the change
in policies, but revenues increased for the Performing Arts Programs,
Tlie Little Theater, felt by many to be one of the finest small theaters in
the area, was greatly improved v/ith the removal of the canvas top and the
re finishing of the stage floor. This allov/s for great flexibility in the
use of the stage and in some instances (such as the Dance Series) reduces
costs since special considerations for the floor have become unnecessary.
The organ concerts presented by staff organists Ludv/ig Altman and Nevrton
Pashley continue to draw v;hat is quite nearly a group of devotees. Ad-
mission charges have affected the attendance.
The Tivilight Concerts v/ere moved from the de Young Museum to the Legion
of Honor during the Chinese Exhibition, The results of the move were con-
sidered positive, and Ti'd-light Concerts at the Legion of Honor are continuing
Attendance is hjLgh and audience response quite good,
"An American Sampler"
The ideas for this series emerged from the Program Office and the Docent
Council simultaneously, Tlie goal was to present a look at various points
in American history and at the ways which artists of different disciplines
used to make a statement about those times, Wanda Corn, art historian,
professor at Mils College, and Guest Curator for the American Art Exhibition
was selected as Artistic Director for the American Sampler Series, A Com-
mittee was selected which in addition to Dr. Corn consisted of the folloMng
people: Stephen Arkin-Literature , San Francisco State UrJLversity; V/esley
Chamberlin- Art History, San Francisco State University; Sister Mary Dominic-
American Music Research Center, Dominican College; Paul Karl strom- Archives of
American Art; and Dianne Sachko-Leni Sloan Dance-Lone Mountain College. At
the end of the series a written evaluation was obtained from the audience
which will be useful in setting up future programs of this sort.
- 25 -
PKCC.rvAM OFFICE (Continued)
f-!ur.eujii Tlieatro
In November 1975 1 acting on a proposal submitted by Robert V/oodruff, the
Program Office made a public announcement concerning the solicitation of
nev/, unproduced (in the Bay Area) short tv;o act plays by local playwrights.
By January the Program Office had received over 300 scripts. Due to the
overv/helming response and other factors, we decided to postpone presentation
until the Fall of 1976 and to seek additional funding,
ACUAA
In addition to its continued membership in the Western Alliance of Arts
Administrators, the Museums nov/ have membership in the Association of
College, University and Community Arts Administrators, Inc, (ACUAA), a
national organization v;hich holds conferences related to all aspects of
performing arts - presentations, planning, and behind the scenes aspects.
In addition, ACUAA has several publications which contain useful information
ranging from sample contracts to audience surveys.
Volunteer Council
The Program Office was responsible for the reorganization of the Volunteer
Council and for the publication of the Volunteer Handbook. The reorganization
included orientation sessions v;hich were designed to give volunteers a sense
of the variety of activities which occur in the Museums and to put the staff
in touch with museum volunteers. The Volunteer Handbook was designed to
provide supplementary information concerning the Museums’ operations and
procedures. In addition, a Current Events book and an artists’ card file
were developed for use by Volunteers,
Under the supervision of staff coordinator Ola Kupka, volunteers sei*ve the
year round on public information desks at the Legion of Honor and de Young
Museums, In the past year volunteers were placed on special assignments in
the office of the Director, in the Library and in the Development, Regis-
tration, Programming, Exhibitions and Conservation department. Volunteers
serve on a regular basis in the Public Relations office, the Achenbach
Foundation for the Graphic Arts and in the Museum Society offices.
During major public exhibitions, volunteers sell tickets, catalogues and
Acoustiguides, distribute surveys and educational handouts, and work in the
Museum Bookshop, Daring the Chinese Archaeological Exhibit, the Hermitage
Exhibit and the Rockefeller Exhibit volunteers served a total of l6,300 hours,
A total of 179 volunteers completed one of the five Volunteer Training and
Orientation Sessions offered in 1973-76.
- 26 -
THE DE YOUNG ART SCHOOL
The de Young Museum Art School is a non-profit educational corporation
within the administrative structure of The Fine Arts Museums of San Fran-
cisco, City and County of San Francisco. The Art School is a department
in the E,ducation Ei‘ vision of the museum, employing 3^ artists to share
their skills and resources with the museum, the school system, other cul-
tural and educational institutions, and the Bay Area community at large.
It is the purpose of the Art School to develop educational and cultural
programs in conjunction with the museuiii; these include studio art classes,
production of films, video and slide presentation, art programs for the
San Francisco Unified Schools, art events for communities, exhibitions,
and consultant work for other non-profit agencies.
In the 1975-76 fiscal year, the Art School relocated from the de Young
Museum to a downtoira location at Hov/ard Street and New Montgomery. The
move was necessitated by the museum’s building project: new American galleries,
a restaurant, workshops and new Art School quarters. Existing programs vi/ere
lost, but new programs began. A majority of the past students no longer
enrolled in classes, but a business commimity audience developed, and programs
for this audience emerged. There are no longer classes for children nor a
curriculum based on the museum collection, but now there are professional
studios for jewelry, photography, printmal^ing, painting and drai\dng, a \’ldeo
and film resource department, and a thriving Dovmtown Art Gallery at 651
Howard Street,
The move has resulted in a financial loss to the Art School of :|$8,000 expended
in moving and renovation costs. This figure coupled with a monthly overhead
of an estimated 4^1,700 per month and a decrease in student fees presents
a tremendous biirden to the Art School,
At the museum location, there were no rent, utilities, garbage collection or
telephone costs, yet the Art School has survived these increased costs
vn.thout any financial support from the museum or the City and County of
San Francisco, 1/ith a 56/o decrease in student attendance and constantly
rising operating costs, the Art School faces problems but hopes to maintain
a program at the Downtovra Center through June 1977* The school \d.ll return
to the de Young Museum in the \^d.nter of 1977 with a full class schedule
slated for March of that year.
The dedication of the Art School staff (5^?^ of which are artists working
through the Mayor’s Office of Employment and Training (C.E.T.A.), combined
with community support and assistance from the museums, the San Francisco
Art Commission’s Neighborhood Arts Program, the California Historical Society,
the San Francisco Library, and the San Francisco Zoo, enabled the Art School
to continue its programs and to expand in new directions to meet some of this
city’s ciiltural needs. For a list of Art School persormel, see Appendix VI.
- 28 -
PKCX}RAM OFFICE (Continued)
Sunii^iary
ProGrains presented in whole or in part by the Frograni Office, with their
total attendance fi/];\ires, are as follows:
Number of
rrofrrams
Attendance
Exhibition Related Programs
10,800
36
V/eekend Performing Arts
7,200
30
Other Performing Arts 8c
Special Events
10,000
104
Organ Concerts
10,400
3
Twilight Concerts
2,300
21
Outside Organizations
—
TOTAL
40,900
For a listing of specific events sponsored by the Program Office, see
Appendix IV
Bruce Merley
Charles Mills
Assistant Curators,
Programs and Education
- 27 -
THZ DS YQW.G AS? SCPICCL (Continued)
In the 1975-76 fiscal year the Art School was responsible for the foUov/in^
projects and pro grans:
Classes
Prior to the relocation, the Art School functioned as it has for the past
ten years offering studio classes for children and adults that related to
the museum collection, as v;ell as drop-in studio workshops relating to
temporary e^chibitions , artist demons trs.tions and field trips. Durdng the
1975-76 year, l6l7 adults and 1145 children attended studio classes, -and
54cO people attended drop-in classes and ’workshops.
Perhaps the most obvious change was the suspension of classes for children.
The nev; location did not meet the Field A.ct code for a school nor was the
neighborhood conducive to children, A limited program for children, however,
has continued v/ith classes being held in the galleries of the de Young Museum,
the Legion of Plonor, and the Academy of Sciences.
Trip-Out Tiycks / Trio-Cut Tnorlcs
The Trip-out Truck is a mobile outreach program conducted b^.^ the Art School
which brings artists, art programs, and art objects to the schools and to
community locations in San Francisco. The -program has t’wo brightly painted
vans well stocked \-rLth supplies and a staff of ten artist/instructors from
the Art School ’who 'work nart time on the trucks. There are also eight suit-
case exhibits, called Trip-out Trunks, containing masks, textiles, puppets,
je’welry, ceramics, printmaking, calligraphy and basketry, ’which are either
used on the trucks or loaned to classroom teachers. The trucks operate all
year, 3 to 4 days each ’week. V/e have more requests for the program from the
teachers than v/e can possibly fill. Funding for the trick program during thns
fiscal year ’was provided by the National Zndo’/.’ment for the Arts Special
Projects and the Museum Society, Tnere ’was no cost to the City and County of
San Francisco,
The Trip-out Truck program ’wcrlcs ’vith classroom teachers to create an art
program that v/ill assist both the student and the teacher, Tliis 3/ear we
decided to do a more formal evaluation of the program to find out how teachers
and students react to specific aspects of our program. The results indicate
that teachers are aided in developing ne’w instructional materials and ’wa3/s
to organise projects, and they gain confidence in teacrJng about art objects.
Students get more indivHdual assistance, feel mors freedom in their art
projects and learn to face stiffen educational challenges.
The trucks once again received national recognition as the program is featured
in a -video tape on CETA artists produced bvr Optic Ner’/e and is a fea-tured
program in the National Sndovmient for the Arts City S-cirit film by Glen Fleck,
In summar3/, the trucks visited l4l schools and 17 commuriity centers, and
reached a total of 53 j 321 children and ad-ults.
- 29 -
AKT SCHOOL (Continued)
Exiiibitions
Tlio Art School remained active in the museum's exhibition program with the
following contributions;
Made \d.th Paper - July-August 1975 - Legion of Plonor
This was a small exliibit organized by Chere Mah, a Rockefeller Fellow,
showing uses of paper for art and for utilitarian purposes.
Callir:raphy - The Art of Beautiful Handwriting - September-November 1975 -
Legion of Honor
Tlie Calligraphy collection from the San Francisco Public Library was dis-
played along 'AO-th the tools of the calligrapher.
The Food E:<hibit - November 1975-January 197^ - de Young Museum
This was a year long major project tackled by the Art School staff. The
purpose of the exhibit was to shov; the art and rituals of the various
ethnic groups residing in the San Francisco Bay Area. Food was selected
as the theme because it provided a common element. This program would not
have been possible without C.E.T.A. personnel,
Tlie Pursuit of Happiness - American Issues Forum - May- June 1976.
California Historical Society
C.E.T.A. personnel v/orked together in research, photography, and design to
produce a community traveling exliibit for the California Historical Society.
The exliibit based on the theme. Pursuit of Happiness, focused on California
as the land of plenty and illustrated concepts with details from San Fran-
cisco's VJPA murals.
Zoo Introduction to Animal Habitat, an exhibition at the San Francisco Zoo
which provides an introductory experience for the zoo visitor. Prepared by
two Rockefeller/NEA Training Fellov/s assisted by C.E.T.A, personnel, it
includes folk art apieces of animals, prints, photographs and dravm.ngs.
There has been a grant proposal submitted to the National Endowment for the
Arts for the purpose of expanding this project to include more panels and
video tapes a.bout the zoo.
Mural Projects - Four major works of art were produced id-th private funding
and available monies from the museum's exhibition allocation of the City and
County of San Francisco:
Johji Rampley and John V/ehrle worked on v/ooden panels in the de Young Museum
parking lot to produce two murals; the two artists completed a landscape
mural at Kaiser Foundation Hospital in South San Francisco; and Jose Grant,
also a C.E.T.A. artist v/orking vith the Art School, singlehandedly found
funding and executed a mural at the Page and Gough Street mini -park.
Film and Video Productions
Using film and video as a tool for education about the visual arts and about
museums, the Art School has established a department of film and video under
the direction of Michael Lerner, with Alan Babbitt and Michael McMillan, a1 1
C.E.T.A, artists
- 30 -
ART SCHOOL (Continued)
Video tapes and multi-media slide shows have been produced in conjunction
with exhibitions and for circulation to schools and to community centers.
The follovm.ng video tapes are presently available:
1) Calligraphy - Methods and Styles
2) Preparing for and Painting a Mural
3) Tlie Masked Recycler - Use of Recycled Materials for Teaching Art
4) Loyd Reynolds, Calligrapher
5) Conservation of V/orks on Paper
6) Making a Mannequin for the Exhibition of Textiles
Dov/ntovm Art Center
This two story brick building at 631 Howard Street has become the temporary
home of the de Young Museum Art School as well as an exhibition space or
branch gallery of the museum. Over 90,000 persons v/ork in a ten block radius
of the Downtov;n Center; it is this audience we v/ant to serve. In addition
to the exhibitions and classes, programs are offered at lunch time and after
work for the business community, such as Video Lunches, Mixed Media Art
Adventures, Textile V/orkshops, Ceramic Field Tinps, Architectural V/alking
Tours, Ceramic Lectures and Demonstrations, Printmald.ng Demonstrations and
Workshops, and Life Drawing Studios.
Museum Training and Intern Programs
The de Young Museum Art School has been involved in training persons for
work in museum education and in providing museum experience for young persons
for the past three years; it is helped by the Art School's varied programs
and close relationship with the school district and other community agencies.
I, Training for Museum Professionals: The Rockefeller/National Endowment
for the Arts Training Fellowsliips in Museum Education.
Ten persons were selected from the thirteen western states to participate in
a work/study program concentrating on museum education and community arts
administration. The purpose of the project is to provide practical expeiuence
and professional training in the form of seminars and field trips for persons
v;ho wish to enter the museum profession,
II, Training Program for Teenagers and Young Adults.
In the summer of 1975 the National Endowment for the Arts Expansion Arts
Program and the Neighborhood Youth Corps program provided funds and salaries
for a youth v;ork/study project. Nine students were recruited from every area
of the city to work in the museum and in the urban outreach programs. The
program has been funded again this summer and is being coordinated by tv/o
C.S.T.A, artists.
- 51 -
AKT SCHOOL (Continued)
C.E>T.A. ProfTrani - Tlie Mayor’s Office of Sirployraent and Training
Tliroughout the year, Art School projects were initiated and conducted by
C.E.T.A, employees, a federally funded employment program addressed to the
national problem of unemployment. The Art School supervised and supported
tlie projects of twenty C.E.T.A, artists. In addition, five C.E.T.A, personnel
v;ere assigned to the Art School through The Fine Arts Museums of San Francisco,
Tliis program has benefited the San Francisco artist who is traditionally un-
employed or underemployed, the city's education and cultural institutions,
and the people of San Francisco,
Tlie C.E.T.A, program has acted as a catalyst to the Art School program and
has provided a strong and dedicated staff to initiate projects and to meet
community cultural needs. It has further enabled the Art School to
coordinate programs v/ith the other city agencies who share our C.E.T.A.,
personnel; the San Francisco Zoo, Kearny Street V/orkshop, Jackson Street
Gallery, California Historical Society, the Maritime Museum, San Francisco
Neighborhood Arts, San Francisco Unified School District, Chicano/Xatino
conmnunity programs, and the San Francisco Public Library.
It ’.dJLl be a major loss to the de Young Museum Art School, The Fine Arts
Museums of San Francisco, and to the community at large should the C.E.T.A,
artist project end this coming fiscal year.
Elsa Cameron, Curator in charge
de Young Art School
- 32 -
COUNCIL
' Docent Council Profrrams
The primary function of the Docent Council is to interpret the permanent
collections and special exliibitions of the Asian Svrt Museum and Tlie Fine
Arts Museums to the museum visitor - adults, school children and special
groups of senior citizens, the deaf community, and educational groups of
all ages. Secondarily, docents provide support to the staff by doing
research, library v/ork, special projects such as tapestry conservation,
and assisting in the Registrar's office.
To acliieve its primary goal in a professional manner, the Docent Council
gives its members advanced and continuing training in the Arts of Asia,
Europe, Africa, Oceania, and the /imericas. This past year such training
was handled in several v;ays: through lectures and seminars by professors
from near-by universities or from the Ilxuseums’ staff. In addition, sma3.1
monthly v/orkshops organised by docents themselves were devoted to specific
topics in v;hich docents felt they needed further v;ork. Attendance at the
weekly advanced training is mandatory if a docent is to continue to tour
actively. Docents give a minimum of two tours per month.
In 1975-1976 the Docent Council, with guidance from the Museums' staff,
provided continuing training v/ith the emphasis on developing "participatory"
tours for the visitor. All western docents are nov; qualified to give tours
at both the de Young and Legion of Honor museums for the first time since
their merger, and sixteen docents completed their two-year training in the
Arts of Africa, Oceania, and the Americas and are now qualified to tour
in these galleries.
Another facet of the Docent Council is its "Docents for the Deaf Program,"
established six years ago to reach the deaf community of all ages and to
enable them to enjoy more fully the resources of our Iliuseums, An advanced
class of thirteen and a beginning class of six docents were given training
in sign language and lip reading, vn.th funding for the teacher provided by
the San Francisco Community College District, TTiis program was further
supported and its services consequently expanded b^r a grant from The San
Francisco Foundation, In June, as a part of Deaf Awareness V/eek, the
Docents for the Deaf gave a "celebration" for the Bay Area deaf community
vn.th films and theatre, Tliis program is known not only in this area, but
nationally as well; other museums have vised it as a model for their ovn
programs.
By operating on an extremely tight budget in the past fiscal year, the
Docent Council was able to hire a Docent Coordinator, Ms. Lizabeth Cohen,
As a member of The Fine Arts Museums staff, her function is to serve as
liaison to the staff and to work with docents in evaluating their programs
and in developing new ones. Her first resioonsibility in this position v;as
to expand the School Program and to increase communication with the San
Francisco Unified School District and neighborhood and community centers.
- 53 -
DQCI^NT COU^ICIL (Continued)
Tl:e Docent Council provides daily tours of the permanent collections and
special exliibitions. In addition, the Docent Council gives tours to special
groups - college classes, convention visitors, and members of national or
international art groups including tours in foreign. languages,
Tlie Docent Council provides a valuable service to the nuseums it serves -
as its members and their tours are the primary interface .between the col-
lections and the public - and lool^ forward to expanding its programs and
services.
Lucy Pfund Kartell, Chairman
Docent Council. 1975-1976
Docent Council School Program
Tlie School Program offers participatory museum experiences- -to school, grcra-ps
primarily from the 2nd through 12th grades. Our objective is to develop
cultural av/areness and, visual skills in children through exciting inquiry^
into the art of Asia, America and Europe, and the traditional arts of- Africa,
Oceania, and the Americas. Our specific goals for the program this ’year
included v;orking more closely v/ith the San Francisco public schools, and
striving for better integration of the museum visit with on-going .classroom
teaching. Accomplishment of the latter goal called for much. joint planning
and coordination between museum staff, docents and teachers.
Communication v.dth teachers and schools was aided by the presence- of three
part-time Museum Teaching Assistants. Tlie Museum Teaching Assistant-..and the
docents v;ould evaluate after every tour how well the program met the -original
goals and ho\/ effective the over-all experience v/as for the oliildren.-
School docents give at least one tour a v;eek, participating as a member- of
a team that gives regular tours a specific day each v;eek, Vdiile most of our
teaching occurs in the museum, on occasion programs are planned for the
classroom as well.
To improve coordination between the museum and schools, the 'School Program
offered several v;orkshops to groups of teachers to acquaint them v/ith museum
resources and suggest classroom activities that prepare students for and
follow-up a museum visit. V/e also began to develop curriculum materials for
use by teachers to assist in their integration of the museum id.th the class-
room. In this coming year, v/e look forv;ard to expanding both -of these efforts.
The follov/ing are examples of some of the programs offered in conjunction
vdth the San Francisco Unified School District.
1, \Je participated in an "African Safari" program organized, by the Environ-
mental Science Center of the San Francisco Public Schools., Otir oontidbution
involved training eight 9th graders from Presidio Junior High Scliool to be
guides for 27 classes from three elementary schools. The girides helped the
cliildren look at hov; African artists and craftsmen portrayed through art
the same animals they had explored at the zoo, The Academy of Sciences, and
in their classrooms.
- 3^ -
DOCSIIT COUI'ICIL (Continued)
2. I7e participated in a v;orkiihop for ESEA Multi- Cultural teachers, suggestir."
v/ays that a museuEi visit oriented around .-.fii.can £irt might make a study of
Black History more exciting,
3. V/e gave a v;orkshop at the museum to the Social Studies department of Luther
Burbank Junior High School to explore v/ays that teachers could use the museum
in many areas of their teaching.
4. I7e v/orked v/ith forty resource teachers and aides from the Teacher Learrnmg
Center of the SFUSD to plan museum experiences that developed skills of
verbal and vnritten comiiiunication in primary school children.
5o V/e offered a session to teachers of career education through the Industry-
Education Council v;here v/e demonstrated the importance of visual skills in
all vocations, encouraged instruction aimed at their development, and sug-
gested the important role museum visits can play in these efforts.
Lizabeth Cohen
Assistant Curator, Education
- 35 -
An-IIl'IISTRATIOIJ DIVISION
As one of the three major divisions ^^rithin the l^useums, the Administrative
Division is responsible for the preparation and administration of the City
budget, personnel, maintenance, security of the buildings and collections,
development of new sources of funding, and generally for the coordination
of activities id.thin the Museums* three major divisions. This past year I
have been responsible for the planning, administration and coordination of
the complex de Young renovation project, an exciting project which will
serve many needs of the Museiims,
Security
The security staff is responsible for the safety of art objects, visitors
and the two buildings (including the Asian Art Itiseum),. Considering the
Iiigh attendance and lovr average number of guards per gallery, theft or
major damage was miniriial. However, daytime protection against vandalism
continues to be our biggest problem. Our gua]7d force is supplemented by
eight CETA personnel (compared to II4. last year) but is well belca-r minimums
for reasonable coverage of the galleries. If it were not for the extensive
renovation being conducted at the de Young Museum, causing us to close large
areas of the imiseum, we might have had to close sections of the museum to
the public so that other areas could be mors adequately secured.
We are looking for more effective ways of utilizing the relatively small
guard force we have. At the suggestion of the Police Department, some blazer-
type uniforms have been purchased by the Board of Trustees 5 hox^ever, this
small number needs to be increased to be more effective. The uniforms have
added to the visibility of the guards while in the galleries.
Personnel
The Muse-ums have been greatly aided by CETA guards, clerks, preparators and
community workers. Without this help, we would certainly have had difficulty
maintaining the present level of public service. ¥e continue to have diffi-
culty filling key curatorial positions due to salaiy levels which are behind
other museijms, locally and nationall3r. The salaiy imbalance between certain
Ifuseum positions and other City employees continues to create a situation of
low morale.
The Museums also suffer from the lack of curatorial depth in various depart-
ments, Basic clerical staff is now so thin as to impose great hardships
during absences due to illnesses or vacations. Even more discouraging is
having curators, conservators, registrars and the like spending their valuable
time doing routir^ clerical work.
On the positive side, the Museum Society - through direct financial aid -
and volunteers have provided additional personnel support. The staff chart
at the front of this report illustrates the importance of this help. VJhat
the chart does not shoi^ are the 50 nex7 volunteers x^ho work for the Museum
on a daily basis in all facets of musexmi operations. We are gratef-ul for
their support,
1, CETA is a federally fxinded x^rk training program.
- 36 -
Physical Plant
The two antiquated buildings continue to require massive transfusions of
maintenance and repair dollars* The leaking roof problem for now has been
resolved. Poor ventilation and the lack of air conditioning is now our
major concern^ it threatens the veiy existence of the art objects. Also
excessive amounts of natural light in some galleries, combined I'lith too
little artificial light in others, plagues the exhibition of our collecbionj
the one deteriorates most art objects, and the other limits proper viewing.
We have been fortunate to get help from the Pluseum Society and from the
National Endowment for the Arts to correct one portion of this problem with
an in-galleiy lighting system for several galleries at the Legion of Honor.
¥e shall continue to need, and therefore request, capital improvement funds
to complete the job.
In March 1976, as part of San Francisco's bicentennial celebration, a major
renovation project at the de Young Museum was begun. Of primaiy interest
will be the construction of 5^000 square feet of nei'i gallery space to exhibit
the American paintings and decorative arts from the Museum -s permanent col-
lection. Opening is scheduled for May 1977* An additional 10,000 square
feet of neiiT space is being created by excavating under the existing galleries
and adjacent to the existing basement; when com.pleted in March 1977j it will
provide modernized art storage. The existing basement is to be converted into
a suite of conservation laboratories for paintings, decorative arts and textiles.
As a part of the renovation, a new restaurant facility is being created which
will open onto the Oakes garden. This has been one of the most requested
services by visitors. Staff offices also are being renovated to create mor^
practical utilization of existing space. The library will be more efficient
and secure. The art school is being reoriented so that students enter the
rear of the building, thereby increasing our security and decreasing our
overhead. The loading of art objects and non-art objects will be somewhat
separated and controlled, and a new guard station will be able to control all
acti-^/ities at the ser/ice entrance of the Iliseum. In general, the renovation
T’lill provide a resolution of the many past security problems caused by the
poor physical design of the building.
The entrances to both Museums continue to provide architectural barriers to
the physically handicapped. Ramps are needed to remedy this situation, A
temporary wooden one was installed at the Legion of Honor this spring, but
because of certain physical limitations, the costs of a temporary ramp at
the de Young are prohibitive, A raii^ for the de Young was requested in the
City budget, but eventually was deleted as not having high enough cityc'jide
priority.
With the institution of admission fees, we were faced with a difficult
sitiiation of finding a way of collecting fees in buildings not designed for
ihat purpose. We corntantly st?d.ve to provide the visitor a warm and com-
fortable environment; easy orientation and information; free access to our
bookshop; free admission of large groups of school children; proper security;
and at the same time to collect the admission fees as efficiently and econ-
omi Crt.lly as possible. It ■will be necessary to provide funds for a planning
study of all these conflicting components so that we can effectively re-
design each entrance. Hopefully, we can integrate a rairp for the elderly and
the handicapped into our p3a.nningo
- 37 -
Budp:et
Due to ail ever-shrinking budget, we are forced to look for other sources of
income and re-examine our programming. If we continue to have a lack of
adequate personnel and supporting funds, we vri.ll be forced to decrease the
number of exhibitions and special programs which will undoubtedly have a
negative impact upon our attendance and certainly upon our service.
It our contention that the Museums are a major asset to the City, providing
a good return on the tax dollar. The Museums are a significant attraction
for tourists and visitors from afar as vrell as from the Bay Area, Furthermore,
a strong foundation of City support attracts private and federal monies to
support I-Iuseum activities. The renovation at the de Young is an example of
hoi-j- vie were able to get support both locally and nationally for the Museums,
The $2,Ii. million being spent on this program is providing jobs in the City
as well as eliminating 10 previously requested projects worth $2,09 million
which have been included in the Capital Improvements Advisoiy Coiranittee ’s
Six Year Program, Thus, this money serves two purposes: providing jobs and
eliminating ad valorem tax money to do this viork.
The following chart compares the major programs of the Museum T-iith the corres-
ponding financial sources of revenue. In summary, almost 2^ private dollars
vrere spent last year for each dollar of City support.
In order to maintain this private interest, v^e must have the continued support
of our operations vri.th an adequate City budget,
BUDGET COMPAEISOMS - FISCAL 1975-76
Expenses
Expenses
Income
City
Non-City
Non-City
Collections
¥27lI5BIi
$
Publications
231,250
^2,250
Exhibitions
Conservation
211,91?
It5,100
357,702
U91,702
Education
Sh,919
235,il5
I58,ia5
:\rt School
h6,82h
198, 285
183,785
Adminis t lation
ao,358
U3U,000
U25,800
Secrurity
j-laintenance
Capital Improvements:
S63,o-}k
297,799
3,025
3,025
de Young Museum Renovation
2,1(00,000
2,ii00,000
Renovation of English Room
■Moii-allo ca ted
125, 238
13,000
13,000
Bookshop
500,000
800,000
Museum signage and maps
I'iiseum Society reserve
7, 200
155,300
7, 200
Totals
#l,bS6,77l
$1,535,177
$1(,535,177
- 38 -
Admissiong
In August 1975 the Board of Trustees decided to institute an admission charge
rather than suffer a major budget cut proposed by the Board of Supervisors.
It was implemented December 1, 1975« Ttie Museums are open every day of the
year from 10:00 AI^l to 5:00 PM. For persons age 18-65 admission is 75?i; persons
age 12-18, 250; persons under 12 or over 65, Museum Society Members, Society
for Asian Art Members, Museum Trustees, Other Museum Professionals, members of
ICOM, AAI'^, WAAI4, AAI-ID and BAGAC, Guests as may be determined by the Museum
and members of organized educational groups including the person in charge
are Free, Payment of one fee covers admission to the Asian Art Museum, M. H.
de Young Memorial Museum and the California Palace of the Legion of Honor on
the same day. Admission is free on the first day of the month. The Museum
Society may charge a separate fee for admission to Museum Society sponsored
special Exhibitions and events,
Vihile raising revenue, the admissions charge has had the effect of drastically
reducing attendance. At the de Young, attendance for the first 7 months since
the admission charge v;as levied has been 229,092, compared to an adjusted
average attendance for the same period for the 2 previous years when admission
was free of 33^,724 for a net reduction of 32, 7/^.
At the Legion of Honor, attendance for the first 7 months since admission
charge was levied has been 135,678, compared to an adjusted average attendance
for the same period for the 2 previous years when admission v;as free of
281,663 for a net reduction of 41,3/'^,
The average reduction in attendance for both Museums compared to the 2 previous
years is 36. 7?^ •
Of interest is that we average a 21/o increase in daily attendance on days v;hen
admission is free at the de Young, Because of the timing of the Russian show,
the corresponding figure for the Legion of Honor v/ould not be representative and
is thus not shown.
V/e feel that it is too early for a realistic comparison of attendance figures
because of fluctuating exhibition schedules from year to year. See Appendix
VIII for the Museums Admission Fund Statement of Revenues and Expenditures,
Develonment
As the link between the staff and the Board of Trustee’s Development Committee,
Ann M, Knoll, Development Officer, v/as responsible for assistance to the
Development Committee in raising funds for the de Young Renovation Project and
for advising in matters of individual , foundation and government support. She
prepared and processed grant applications, administering grants to The Fine -Arts
Museums Foundation and the de Young Museum Art School,
The Development Office assisted in an ambitious capital drive to raise new funds
for the de Young Renovation, estimated at S2.4 million. Given incentive by a
S400,000 challenge grant from the Charles E. Merrill Trust, the drive success-
fully accomplished its goal.
- 39 -
Since this success j the Development Committee has been aware of the
continuing need for an ongoing capital fund-raising program at the
>!u3eiims; consequently, a development drive is being prepared in concert
x-xith the I-iiseuma* plan* In this plan we will be able to pinpoint
the areas of activity where peimanent funding is required, such as ongoing
refurbishment and maintenance of the museums, endowments for curators hips,
and a special purchase fund for major acquisitions* An aggressive, com-
prehensive and ambitious development plan xd.th his objectives would offer
dramatic opportunities for individuals, corporations and foundations to
join in providing The Fine Arts Miseums of San Francisco :d.th a solid
financial base*
In previous years, the Development Office had been concerned primarily t-ri.th
sustaining an active grant program, principally with the National Endoi'ment
for the Arts and Humanities* This past year, how-ever, has been one in which
other sources of revenue have been sought* Nonetheless, a number of grants
have been ai-xarded to the Museums, and several are still pending. A list of
grant activity appears in Appendix VII.
Ronald Egherman
Assistant Director, Administration
PUBLIC IILFOPM'-PICN OFFICE
Two valuable innovations helped make the year under review a productive
one for the Public Information Office:
1, A telephone line v;as installed to give recorded information, updated by
the Public Information Office, on the Museums' activities in order to lessen
the load of the regular lines,
2. Radio station KIBS/KDFC generously offered to broadcast vignettes on the
Museums* activities. These tv/o- to three- minute programs are now written
and recorded by volunteer Rosemond Shirinian with the guidance of the Public
Information Office,
This year began with intensive efforts on behalf of a major exhibition of
Egyptian art, Images for Eternity, In addition to extensive coverage in
Bay Area newspapers and magazines, television interview’s v;ere arranged for
Mr. Richard Fazzini and Dr, Bernard Bothraer of The Brooklyn Museum, and
notices in buses helped to keep the exhibition in the public eye.
Coincidental with the Egyptian exhibition was an exhibition of Precolumbian
art from the Land Collection, Fire, Earth, Uater, The Public Information
Office provided not only local publicity services but also cooperated with
the museums in Honolulu and Seattle to which this exhibition -was circulated.
In December the Museums' admission charge v;as announced, and it has been the
subject of many articles and public queries since.
An exhibition of etchings by Edgar Chahine from the collection of Albert
Nalbandian received support from Air France, French Bank of California and
I. Magnin. The Public Information Officer coordinated publicity and certain
other activities that concerned these sponsors.
The final phase of the exhibition Three Centuries of French Art on loan from
the Norton Simon Foimdation and the Norton Simon Inc, Foundation was accorded
special publicity service by Donald L, Blum, public relations consultant to
The Museum Society and the Museimis, San Francisco Magazine published a full
color reproduction of a painting in the exhibition, and there v;as broad
coverage of the gala opening celebration.
A major campaign v/as planned to publicize the extraordinary exhibition of
Master Paintings from the Hermitage and the State Russian Museiim, Leningrad,
and the special morning hour for groups was quickly oversubscribed. However,
a strike-induced nine-day closing of the Museums destroyed much of the
momentum of the campaign, as did halting of special shuttle bus service
to the Legion of Honor for the duration of the exliibition.
The major effort of the year under review was on behalf of American Art:
An Sidiibition from the Collection of Mr, and Mrs, John D, Rockefeller 3rd.
Widespread notice v/as secured locally, nationally and internationally.
Articles appeared in many magazines, including Smithsonian Magazine, American
Art Reviev;, Apollo , Sunset, Ccilifornia Living, Performing Arts, P.G.& E.
Progress and Antiques, as well as dozens of newspapers. Statement staffers
were sent to l60,000 customers of the San Francisco Water Dept,, and 400
transit cards were placed in Bay Area buses, A special undergraduate
lecturers program on behalf of the exhibition v/as publicized and quickly
oversubscribed.
- 4l -
tvtqp-q^^c;- ^continued)
The Museum Society’s tri-museum monthly calendar, compiled by the Public
Information Office, had reached a circulation of more than 20,000 at the
end of the fiscal year, providing information on a multitude of museum
activities and events.
The invaluable volimteer service of Susan Booth in the Public Information
Office is gratefully ad-mov/ledged.
Charles D, Long
Public Information Officer
- 42 -
THE I-!USEUrl SOCIETY
The Musetun Society, as the membership organization serving The Fine Arts
Museums of San Francisco and The Asian Art Museum of San Francisco, continued
its support daring 1975-76 of a v/ide variety of exhibitions, publications,
educational programs and other activities.
The follovnLng Directors seirred as Officers of the Society during 1975-76:
Chairman: V/illiam Star^ton Picher
First Vice-Chairman: Mrs. Viilliam H. McIGLeroy
Second Vice-Chairman: Mrs. Frederick Vhitridge
Treasurer: Hichard 17. Goss, II
Secretary: Mrs. Joseph V/, Cochran, III
Museum Society commil^cee chairmen during 1975-76 included:
By-Lav/S : Edv/in J, Mejia
Development: Cliarles L. Griswold (representative to FAM committee)
Education: Benjamin J, Herhey, Jr, (representative to FAII committee)
Exhibitions: Mrs. Frederick '/hitridge
Finance: Richard W, Goss, II
Membership: John Lov;ell Jones
Nominating: John R, May
Personnel: Mrs. William MacColl, Jr.
Program: Mrs. V/illiam H, McKLeroy
Publications: Mrs. G, Gordon Beilis
Shops and Ser''/ices: Mrs. Launce E. Gamble
Travel: Mrs, William MacColl, Jr,
At the Society’s Annual Meeting of Members on May 17, 1976, the follov/ing
v;ere elected as Directors for six-year terras until May 1982;
George T, Ballou
Mrs, Bruce Dohrmann
Gustav Knecht, Jr,
John F, Merriam
Mrs, 17, Robert Phillips
Mrs. Alan Robinson
Mrs , \7oodrow Wong
On March 24, 1976 the Board of Directors appointed Jay D. McEvoy and Richard
Slottow to the Board to fill the unexpired terras of Mrs. Joseph Alioto and
Robert W, Cahill until May 1977. Charles L, Griswold tendered his resignation
from the Board in May 1976 because of his occupational transfer to Pittsburgh,
Pennsylvania. This vacancy vn.ll be filled in the fall of 1976,
- 43 -
tIixj IIUSZUT'I oOCUTY (Continued)
E>diibition Pron^rainiiiinp:
Tlie Museum Society funded v/liolly or in part the follovdng exhibitions in
fiscal 1975-76:
'Hie Ibdiibition of Archaeological Finds of the Peerless Re-public of Cliina
(partial funding)
Fire-i:arth-\/ater; Sculpture from the Land Collection of Mesoamerican Art
Images for EterrJlty: The Art of Ancient Ep:ypt
Recent Drav/ings by Jose Luis Cuevas
Robert Cremean Sculpture
Tliree Centuries of French Art, a re-installation of French paintings lent
by the Norton Simon Foundations
Tsutsumu: The Art of the Japanese Package
Master Paintings from the Hermitage and The State Russian Museum, Leningrad
American Art; An Exliibition from the Collection of Mr, and Mrs, John D.
Rockefeller 3rd.
The Museum Society also funded a variety of programs in connection vd.th the
follovn.ng e:chibitions; Sculpture from the Land Collection of Mesoamerican Art,
Images for Sternity, V/omen Artists; Reviei/ and Recognition; Clayton Bailey;
V/onders of the World Museum, and Sam Richardson: Light Line,
During the Rockefeller exliibition, the Society funded a series of seven
programs entitled ”An American Sampler; l8th and 19th Century Arts and
Entertainment,” presented in the de Young Museum auditorium on Saturday
afternoons and Monday evenings. In addition the Society also funded a
training seminar in American Art for undergraduates at Mills College and
UC-Berkeley taught by Professor l/anda Corn, Tlie students were bused to the
de Young Museum to study the Rockefeller paintings, and a seminar room v;as
provided for their use. Ten of these students subsequently gave lectures
on the Rockefeller exhibition to interested groups in the Bay Area.
Various performing arts programs, films, lectures, publications and events
for members and the general public were sponsored by the Museum Society,
A listing of these is foiuid in Appendix ^/II.
The Museum Societ:;- Auxiliary
The Auxiliary continued to serve the Society cind the Museums in a variety of
ways. Auxiliary members handled arrangements for the Family Holiday Party at
the de Young in December, Mrs, Robert Tnomas and her committee were in charge
of the Opening Day events for the Rockefeller exhibition.
The major event sponsored by the Auxiliary this year v/as the Treasure Hunt
Auction on February 23, held at the Butterfield & Butterfield V/arehouse,
which raised nearly $60,C00, A fund-raising Members* Preview took place
on Febrniary 25, vn.th advance shov/ing of the auction items at the V/arehouse
on the folloid.ng two days.
- 4^ -
THE MUSEUI-I SOCIETY (Contirmed)
Bay Area Grar>hic Arts Council
In April a nine-member CoiTimittee of Governors was formed to administer the
Bay Area Graphic Arts Council, v/ith George A, Poole, Jr. serving as President.
New BAGAC by-laws were drav/n up and the dues structure revised to include a
^JlO General membership, in addition to the 5^50 and 4^150 categories.
Docent Council and Volunteer Council
The Museum Society continued to serve as the financial guarantor of the
Docent Council and to administer its accounts. The Society also funded the
position of Coordinator of the Volunteer Coimcil. The activities of these
tv/o Councils are reported under "Docent Council" and "Pi'ogram Office."
- ^3 -
ACHENBACH FOTOIDATION
APPE^IDIX I
Gift Acquisitions: Prints
THE APOLLO STOPY by Robert T. McCall, American, 1919- . Suite of 5 Lithographs
Gift of Byron Butler, M, D,, Phoenix, Arizona
WAXENSTEIN by Marsden Hartley, American, l877-19^3. Lithograph
JEl/ELRY by John Taylor Arms, American, 1887-1953. Etching E, 321.
VEPIIONT or GOD^S COUNTRY by John Taylor Arms, American, 1887-1953. Etching E395
Gift of Mr, and Mrs, Joseph M, Bransten, San Francisco
THE COAL WAGON by Theodore Gericault, French, 1791-1824. l821. Lithograph D36
Gift of Mrs, Alexander de Bretteville, San Francisco
42 Etchings and Drypoints by Julian Alden \7eir, American, 1852-1919.
10 Etchings and a letter by Caro Weir Ely, Daughter of above.
C.H, , Self Portrait by Childe Hassam, 1859-1935. 1920, Etching, C, 155
Gift of Mrs, Katherine Caldv;ell, Berkeley, California
DAHSEUSE AUX CYTIBALES by \7alter Crane, English, 1843-1915. Lithograph. 1894.
BEHSDICTIME LIQUEUR by Alphonse Mucha. Czech, l860-1939. Color Lithograph Poster
Gift of Mrs. Annette Carlson, San Francisco
27 Etchings by Bernard Childs, American, Contemporary, 1910- .
Gift of Bernard Childs, Nev/ York City for Mrs. Marjorie Gianelloni, S.F.
HE’ILA CHIAN. .LI.,LIa ,LI by Honore Daumier, French, l8o8-l879» Litho, D.l87/ii.
DOMINO ; by Heonore Daumier, Lithograph, 1839. D, 563/iii.
Gift of Mr. and Mrs, Lee Ettelson, San Francisco
77 Color Etchings by Bernard Childs to complete gift of complete v;orks.
Gift of Mrs. Marjorie Gianelloni, San Francisco
SELBSTBILPr'IIS MIT GATTIN (Self-Portrait v/ith V/ife) by Lovis Corinth,
German, 1858-1923. 1904, Drypoint,
V/OODED LANDSCAPE V.iTTH TWO CARTS AND FIGUPi;S by Thomas Gainsborough, English,
1727-1788 , 1779/So, Soft Ground Etching, ^Hayes 9.
MAY GREFII by Graham Sutherland, English, 1903- . 1927. Etching. 1942.
GJERCINO«S TURBAN COMING OVER COROT >3 CLEARING by Joseph Goldyne. Color Etching,
Gift of Dr, and Mrs. Joseph Goldyne, San Francisco
PERVERSE IMAGE OF CHRIST by Jesse Allen, American, Contemp. Color Lithograph.
Gift of Dr, Robert Haskell, San Rafael, Ca,
TUSCUS by Hendrik Goltzius, Dutch, 1558-1617. 1598, Engraving. H. 334/ii,
VON EINEI'4 SORGFAXTIGEN STER3ENDEN MENS CHEN. Woodcut by Hans I7eiditz
VON DIEBSTALEN. l/oodcut by Hans I7eiditz, German, FI. 1497-1510.
VON STAJRICS UND GRCSSMUTIGmT DES SOHNE, Woodcut by Hans V/eiditz
VON TRirJKGESCHIPJ^, MIT EDLEN STElNH-i GEZIERT, V/oodcut by Hans V7eiditz
3^ other 17oodcuts from same series.
ST. PAUL PREACHING TO THE EPHESITLNS (After LeSeur) by Nicolas-Henri Tardieu,
French, 1674-1749.
UNTITLED LANDSCAPE by Anthonie V/aterlo, Dutch, I609-I69O, Etching, D.265
CHRIST BEFORE CAIAPHAS by Marc Antonio Raimondi, Italian, l480-1530. l/oodcut
DESCENT FROM THE CROSS by Marc Antonio Raimondi, Woodcut. D, 276
11 Anonymous l6th Century German 17oodcut Prints,
Gift of Mr. and Mrs, Julius Landauer, San Francisco
- 46 -
APPH'IDIX 1-2
ACICI^njACH FOUI^DATIOn GIFT ACQUISITIONS ; PRIIITS (Continued)
SELF PORTRAIT by Max Klinger. German, 1857-1920. Aquatint.
ETCHINGS OF PAPIS, Title Page, by Charles Meryon. French, 1821 -l868. Etching.
POPTPAIT OF ANDPE DEPAIN by L. Albert-Lasard. French, 189I- . Lithograph.
POPvTPAIT OF SIP raATICIS DRAKE. Anonymous. Knglish. Engraving.
Gift of Mr, and Mrs, P, E, Levd-S, San Rafael, Ca,
MOUMT TAMALPAIS. 1937. V/oodcut by George Demont Otis. American, 1879-1962.
IMDIAiM HOUSE 1938, Drypoint by George Demont Otis.
Gift of Miss Vera Michels, Greenbrae, Ca,
FOUR SEASONS by Marc Cliagall. Russian, 1887- . Color Lithograph Poster. 197^.
Gift of George A, Poole, Jr., San Francisco.
CHEVAL, Lino-Engraving. 19^9. by Emile Lahner, Hungarian, I893-
ESPACE. Monotype, 1970, by Emile Lahner.
F0R?-IS EN ESPACS. 1970, Monotype, by Lahner.
COMPOTIER. 1961. Lithograph, by Lahner.
MOUVE'SHT ELECTRON AUTOUR DU NOYAU, Color Litho. by Lahner.
STUDY FOR A STAIrlED GLASS VJir-IDOV/. 1950 Maxed Media by Lahner.
Gift of Cmdr. and Mrs, Richard Rodriguez, Monterey, Ca,
MOUSE TRAPPED. I969. Color Etching by Elizabeth Sher. American, 19^3- •
PIZZA. 1966, Color Etching by Elizabeth Sher
AI'IGEL V/ING. 197^. Color Etch-ing by Elizabeth Sher,
Gift of Elizabeth Sher, Berkeley, Ca.
GEI'IEVA SERIES. 197^. Set of 7 Lithographs by Lemrniy. Malaysian-:b!ierican, 19^K>-
Gift of Mr, and Mrs. Edgar Sinton, Hillsborough, Ca.
LITTLE POPPIES. 1976, Color Aquatint by Beth Van Hoesen. American, 1926-
TTilTE IRIS, 1976, Color Aquatint by Beth Van Hoesen.
Gift of Smith-Anderson Gallery and Beth Van Hoesen, San Francisco,
12 Portraits (Lithographs) of English Literary Figures of Early 20th century
by Walter 'Tittle, American, 1883-1966,
Gift of Mrs, V.?alter Tittle, Carmel, Ca,
Purchase Acquisitions: Draj.vings
l’ ARTISTE C0I^L7EP.5ATIT . Sanguine Drax-d-ng on paper by Jean Honore Fragonard,
French, 1732-l8c6,
Purchased from Jean Cailleinc, Paris, France.
LITTLE LEAPIiM V/atercolor on Paper by Gladys Nilsson, American, 1927- 1969.
Purchased from Robert Aichele, Carmichael, Ca,
STAJTDING ARAB. Graphite on Paper by Jean-Leon Gerome. French. l82A-1904,
Purchased from Shepherd Gallery Associates, Nev; York City,
I-LARIA BARTOLINI, Pencil Dravn.ng on paper by Jean-Auguste-Dorairiique Ingres.
French, I78C-I067,
Purchased by Mildenstein & Company, Nev; York City,
- ^7 -
APPEI'IDEC 1-3
ACIiETBACH FOUNDATION (Continued)
Purchase Acquisitions ; Prints
Untitled. Seriagraph, Stencil by Joseph Cornell. American, 1903-1972.
Purchased from Brooke Alexander, Inc,, Nev; York City
INVOCATION A LA MADONE D’CIFYK WRT. l897. Color Lithograph by Marcel Lenoir.
French, 1872-1931.
AU SQUARE. 1897* Color Lithograph by J.J.E. Evenpoel. Belgian, 1872-1899 •
DAI'IS LES EOMGES. 1898. Color Lithograph by Henri Betouche. French. 183^-1913.
Purchased from L*Estampe Originale, Los Gatos, Ca.
'lAI^IE FLQV/ERG. Lithograph, hand colored by Grant V/ood. American, 1892-19^2.
Purchased from Victoria Blythe, Los Angeles, Ca.
Untitled, ca, 19^4-, Etchinb by Jackson Pollock, American, 1912-1956.
MAPIE5. Color Aquatint by Jacques Villon, French, 1875-1963*
Purchased from Graphics International, Ltd,, V/ashington, D.C.
L’ ASSOUTE. 189^. V/oodcut by Felix Vallotton. Si'm-Ss/Fr ench , 1865-1925*
CPUCIFIXION. 189^. V/oodcut by Emile Bernard, French, 1368-19^1 o
Purchased by Joseph Gropper Gallery, V/est Somer'/ille, Mass.
TAI'IALES, 1975. Color Aquatint by V/illiam Allan, American, 1936-
Purchased from Hansen-Fuller Gallery, San Francisco, Ca,
BEAPDED OLD MAN. Etching, DeV, 139? by Domenico Tiepolo, Italian, 1727-lSo4
V/CMAN BEFOPJ] A TABLE. Color Woodcut, by Yasuo Kuniyoshi, American, 1890-1953*
SATIPE ON THE LAOCCON IN THE BEL^/EDSPE. 15^5* l/oodcut after Titian. Pass. 97,
by Niccolo Boldrini. Italian, ca, 1510-1566.
VEPY HUMBp, VERY SL^ICSSIVE, VEPY OBEDIEI/T, Ar/D ABO^/E ALL VEPY GPESDY SUBJECTS. _
Litho. D,/fO/i by Honore Daumier. French, l8c8-lS73*
THE PEPOSS OF FRANCE. Lithograph, D, 84, Daumier,
A LARGE MORTAR WITH A SHORT PjlNGE. D. 98. Litho. Daumier.
THE PHA.NT0M. Lithograph, D, 115/ii . Daumi er ,
Purchased by R,S. Levri.s, Inc,, Nicasio, Ca.
RESURRECTION , 1926, Mono type- Aqua tint, P. 21 by Arthur E. Da-'/ies,
American, 1862-1928,
WTLDFLOWERS . Hand colored Lithograph by Grant 'Wood, American, 1892-1942.
Purchased from Middendorf Gallery, 'Washington, D. C.
24 Orange Crate Labels (Lithographed in color).
Purchased from Old Promises Co,, San Francisco
Untitled Dry embossed etching by George looker. American, 1920- , 1975*
Purchased from Frank Rehn Gallery, Nevv York City
DAY LILLIES. 1973* Etching, A.quatint by Peter i^ilton, American, 1930- .
THE JOLLY CORNER, (by Henry James) Illustr., v/ith 21 etchings in portfolio,
1971, By Peter 1111 ton.
Purchased from Tomlinson Collection, Baltimore, Maryland,
- 48 -
APPENDIX I - if
ACHIDrBACH FOUT®ATION (Continued)
Gift Acquisitions; Dravn.n,?s
Untitled Dravving, Pencil, beeswax, graphite on paper by Katherine Porter,
American, 19^1- ,
Sheet of Studies. Recto/verso. Inlc on paper by Theodore Matthias von Holst.
English, I8l0-l84if.
Gift of Mrs, Alexander de Bretteville, San Francisco ,
STREET SCENE. Pencil Dravri.ng, School of Bonington, English, 19th C,
Gift of Graphics International, Ltd., l/ashington, D, C.
Plan Draid.ng for the Etching, MAY GREEN, 1927. IrHc, graphite, gouache, on paper.
By Graliam Sutherland, English, 1903- •
Gift of Dr, and Mrs, Joseph Goldyne, San Francisco «
Untitled Standing Male Figure. l8l6. Black Chalk, V/hite Chalk on Paper.
By Eugene Delacroix. French, 1798-1863.
Gift of Mr, Austin Hills, San Francisco
Academic Study. Elderly Male Nude, Charcoal on Paper, By Albert Horstmeier,
American, 1869-19^,
Gift of Mr. and Mrs, Robert Flynn Johnson, San Francisco
T'.JO CAVALRYMEl^I, V/atercolor, by Constantin Guys, French, l802-l892.
Gift of Mr. V/illiam S. Picher, San Francisco
Abstract Heads, V/atercolor, By Alfred Maurer, American, l868- ,
Gift of Bertha Schaefer Gallery, Inc., Kev; York City
Gifts to the Achenbach Library
4 Books for the Theatre and Dance Collection.
ISADORA DUI'TCAN by Arnold Genthe
PORTFOLIO OF DANCE by Grandjouan
THE DANCE OF ISADORA DUNCAN by Valentine Le Corate
ECRITS SUR LA DAI'ISE by Isadora Duncan
Gift of Mr. George H. Cabaniss, Jr., San Francisco
EAPIY E?/GLISH V/ATERCOLORS by lolo Williams
Gift of Mr. Ernest Heinzer, San Francisco
AI'-IERICA by Ralph Steadman.
Gift of Rolling Stone Magazine, San Francisco
One Step Stool for the Library,
Gift of Mrs, Damon Raike, San Francisco
Total De-Accessions: 1973-1976
Thomas Hart Benton:
Maximilian Kurzweil:
Rembrandt van Rijn:
Georg Penoz:
Edouard Manet:
l6 Lithographs (Exchanges)
1 V/oodcut. (Duplicate)
1 Drypoint Etching, H. 172, Late Impression,
1 Engraving, B. 90. (Duplicate)
2 Etchings, G, l6/v 8c G. 26/ii. (Duplicates)
- 49 -
APPSITDIX 1-5
ITEIIS HiyMDLED BY THE
ACT-IEJ'-IBACH FOUInTDATION (Continued)
Loans TO the Achenbach Foundation
Feb. 25, 1975 to
Aug. 6, 1975:
I Framed Toulouse-Lautrec Print lent for examination
by Mrs, Michele Frosini, Berkeley, Ca.
Mar. 1, 1975 to
Aug. 14, 1975:
1 Benjamin I7est Sketchbook lent for authentication
examination by Mr. Ed Nagel, San Francisco
Apr. 18, 1975 to
Nov. 20, 1975:
1 Rembrandt Print lent by Mr. & Mrs, John V/inkler,
El Cerrito, Ca.
June 1, 1975 to
Aug. 25, 1975:
Lent for Auguste Rodin E:diibition:
2 Drypoints, 2 Drav;ings by Rodin from The Art Institute
of Cliicago
5 Drypoints by Rodin from Baltimore Museum of Art
5 Drypoints by Rodin from Museum of Fine Arts, Boston
1 Drypoint by Rodin from Mr, 8: Mrs, Lavnrence Bmmswick,
Rydal, Pa.
1 Drypoint by Rodin from Cleveland Museum of Art
1 Book, illustrated by Rodin from Houghton Library,
Harvard University
1 Drypoint by Rodin lent by R,M, Light 8: Co,, Boston
4 Books illustrated by Rodin lent by N,Y, Public Library
1 Dravri.ng by Rodin lent by Museum* of Art, Stanford
1 Book illustrated by Rodin lent by Bancroft Library,
University of California, Berkeley
1 Bronze bust of Victor Hugo lent by Baltimore (Maryland)
Museum of Art
1 Ceramic Plaque, 2 Bronze busts b;f Rodin lent by Museum
of Art, Stanford University
38 Dravjings and 7 Drypoints by Rodin lent by Musee Rodin,
Paris, France
1 Drypoint by Rodin lent by Ximsthalle, Bremen, '.■,G,
June k, 1975 to
Sept. 15, 1975
3 Drav/ings lent by Mrs, Bruce Kelliam, San Francisco
for examir*ation.
June 25, 1975 to
Aug. 27, 1975:
6 Serigraph Prints lent by Hr. L.C. Kolav/ole, San Fran-
cisco for Examination, potential purchase.
July 17, 1975 to
Jiay 6, 1976:
10 Monotype prints lent by Sandria Hu, Houston, Texas,
for examination, potential exliibition
- 50 -
APPSI'IDIX 1-6
Loans TO Achenbach Foundation (Continued)
Aug. 6, 1975 to
Sept. 30, 1975:
82 Pen and I7ash Dra\imigs lent by Jose Luis Cuevas, Mexico
City, for exhibition
Oct, 1, 1975 to
Dec. 20, 1975:
100 Line Dravvlngs lent by Eleanor Dickinson, San Francisco
for Exhibition.
Dec. 10, 1975 to
Mar. 20, 1976:
16 Prints lent by a San Francisco collector for Artist’s
Portraits exhibition.
Dec. 15, 1975 to
Mar. 10, 1976:
90 Framed Prints lent by Mr. Albert Nalbandian, San Fran-
cisco, for Edgar Chahine Exliibition
Mar. 26, 1976 to
Mar. 29, 1976:
1 Rowlandson 1/ater Color Drai^ng lent by Mr. John V/ilson,
Lalceside, Michigan, for potential purchase.
May 8, 1976 to
5 V/ater color landscapes by Ryder, Hassara and Weir,
Indefinite long loan Lent by Mrs. Katherine Caldx\reli, Berkeley, Ca,
May 15, 1976 to
July 30, 1976:
25 Pen and Ink Dravn.ngs lent by Mr. Gordon Baldid-n,
Bolinas, Ca, for Exhibition.
1973-1976 Fiscal Year Loans to A«F.G.A,: 27 Sources lent 4o8 Items,
Loans FROM Achenbach Foundation
Apr, 7, 1975 to
Oct, 2, 1975:
2 Drav/ings, by Fragonard and Watteau, lent to The Art
Institute of Cliicago (Illinois)
Aug. 12, 1975 to
Dec, 4, 1975:
3 Drav/ings by Maxfield Parrish, lent to Seibu Galleries,
Tokyo , Japan
Aug. 20, 1975 to
Dec. 12, 1975:
2 (1 Print & 1 Watercolor) by J.M.’Z. Turner, lent to
University of California, Berkeley
Nov. 24, 1975 to
Apr. 19, 1976:
8 Dra\d.ngs, by Boucher, Gainsborough, Huet, Norland,
Sandby, Baumgartner, Rowlandson and Vincent, lent to
Claremont Colleges, Pomona, Ca, and to the E.B, Crocker
Art Gallery, Sacramento, Ca,
Oct. 9, 1975 to
Dec. 18, 1975:
2 Dra\d.ngs by Giovanni Battista Paggi, lent to E.B.
Crocker Art Gallery, Sacramento, Ca,
- 51 -
APPETTDIX 1-7
Loans FHCM Aclienbach. Foundation (Continued)
Dec. 2, 1975 to
Feb. 26, 1976:
28 Moodcut Prints by Barlach, Becknan, Blake, Baldung,
Burgknair, Campendonk, Gauguin, Graf, Heckel & riolde,
lent to Portland (Oregon) Art Museum
Dec. 3, 1975 to
Jan, 15, 1976:
1 Print by Joseph Goldyne, lent to Mev/port (Beach, Ca.)
Art Center
Jan. 15, 1976 to
Mar. 16, 1976:
65 Framed Color Drav.Hngs of Theatre and Ballet Scenes, from
the Spreckels Theatre and Dance Collection, lent to The
Society of the Four :\rts. Palm Beach, Florida
Jan. 30, 1976 to
Apr. 30, 1976
7 Framed Photographs by Arnold Gen the, lent to Oakland
(California) Art Museum
Mar. 16, 1976 to
June 23, 1976:
6 Framed Dravr’ ngs by Jusepne de Ribera and G'i ox'-anrn.
Ba.ttista Tiepolo, lent to Los Angeles (Califoricia) County
Museum of Art
May 3, 1976 to
July 2, 1976:
21 Viev; Prints by Arms, Fraser, Hiroshige, Perrot,
Piranesi and Roberts, lent to Transamerica Corporation,
San Francisco, for Exhibition.
June 1, 1976 to
Apr. 17, 1977
1 Dravang by Georgia O’Keeffe, lent to American Federation
of Arts, Mev; York City
June 15, 1976 to
Aug. 31, 1976:
2 Prints by Koshiro Onclii, lent to the Rational Museun of
Modern art, ToIq'o, Japan
- 52 -
^yPPEIIDIX II
RECAPITULATION OF ITEIIS HANDLED BY THE REGISTRAR *S OFFICE - M. H. DE YOUTIG
NSI-IORIAL MUSEUM - FIUCAL YEvlR 1975-1976
Gifts to Museum 64o
Extended Loans to Museum l62
Extended Loans to Museum Returned 128
Temporary Exhibition Loans to Museum 2,211
Temporary Exliibition Loans to Museum Returned 1,906
Loans by Museum to Other Institutions 3j728
Loans by Museum to Other Institutions Returned 4o6
Permanent Collection Items to Outside Conservators 1
Permanent Collection Items to Outside Conservators Returned 3
Inter-Departmental Transfers - to Others l66
Inter-DepartmentaL Transfers - from Others 89
Transfer of Permanent Collection Items to Asian Art Museum 8l3
Total number of routine objects received, processed, delivered,
etc,, during the 1975-1976 period: 10,255
PSRI-IAI'IENT COLLECTIONS ITSI---LS SENT OUTfilDE DE YOUNG MUSSUI^ FOR CONSERVATION
47.12 I3IS^ Egyptian, v;ood and bronze sculpture To: Conservation Department
Asian Art Museiim, S.F. 11/20/75
RETURN OF PERMANENT COLLECTION ITSI-IS SEI^IT OUTSIDE FOR CONSERVATION
4712 IBIS
From: Conservation Department
Asian Art Museum. 12/1/75
49835 MAPvIUS AI-IIDST THE RUINS OF CARTHAGE
Oil/can by John Vanderlyn
From: Conservation Department
San Francisco Museum of Modern
Art, San Francisco. 2/26/76
53670 PORTRAIT OF ELDERLY LADY
Cil/can by Bronzino
From: Conservation Department
Los Angeles Coimty Museum of
Art, 6/24/76
INTER-DEPARTI'-ISNTAL TRANSFERS AND RECEIPTS
Permanent Collection Items transferred to Legion of Honor 1C3
Permanent Collection Items sent to Painting Conservation, Legion of Honor 50
Permanent Collection Items loaned to Docent Council ^
166
Permanent Collection Items Received from Legion of Honor 80
Permanent Collection Items Returned from Painting Conservation, Legion 9
- 53 -
APPENDIX II - 2
ADDITIONS TO THE COLLECTIONS OF THE M. H. DE YOUNG IIEMORIAL MUSEUM, 1975--1976
75.12 (A,B)
75.13
75.14
75.15
75.16
75.17.1
75.17.2
75.18.1
75.18.2
75.18.3
75.18.4
75.18.3
75.18.6
75.18.7
75.18.8
75.18.9
75. 18.10
75.18.11
75.18.12
75.18.13
75.18.14
75.18,13
75.18.16
75.18.17
75.18.18
75.18. 19
75.18.20
75.18.21
75.18.22
75.18.23-26
75.18.27
75.18.28
75.18.29
75.18.30-31
75.18.32
75.18.33
75.18.34
75.18.35
STERLING SILVER TUREEN V//COVEP, English (London), 1778-1779
Gift of Mrs. John Lord King
BLACK PAINTED V/OOD SIDE CHAIN, American, ca. 1720
Gift of Mr, Granville L, Rogers
"SMILING HEAD", pre-Coliunbian ceramic from Veracruz
Gift of Mr, Charles B, Cohn and Mr. Stuart P, Anderson
in memory of Mr, Roland E. Partridge
GRANARY DOOR, Dogon, Africa
Gift (Museum Foundation) by Dr. 8c Mrs. Melvin Silverman
V/INGED ANIMAL./BIRD STAFF, Senufo, Ivory Coast, Africa
Gift of Mr, 8c Mrs, Herbert Balcer
MALE ANCESTOR FIGURE, Baluba, Africa
MALE ANCESTOR FIGURE. Baluba, Africa
Gift (Museum Foundation) of Mrs. Vicci Sperry
DOGE^S PALACE, oil/can by Luca Carlevaris
SAN GIORGIO HAGGIORE, oil/can by Luca Carlevaris
ASSEI4BLEE GAL ANTE, oil/can by Jean B, J, Pater
PORTRAIT OF BEARDED MAN, oilAood attrib to Corneille de Lyon
MADOMA AND CHRIST CHILD, oil/can by A. Isenbrandt
MAJDONI'JA AliP CHILD, oil/wood by Martin Schongauer
PORTRAIT OF M^IN IN BLACK, oil/wood by Jos van Cleve Flemalle
PORTRAIT OF MAiN IN BLACK HAT 8c RED JACKET, oil/wood by Master of /
SEATED MAN IN LAI'IDSCAPE, oil/can by Francisco Goya
SEATED V/OMAN IN LAiySCAPE, oil/can by Francisco Goya
SELF~PORTPAIT, oil/can by Jean Baptiste Greuze
VJOMEN DISEIiBARKING FROM SHIP, oil/can by Unknoim of Flemish School
AGE OF INI'IOCENCE (COPY) , oil/can by Sir Joshua Reynolds
PORTRAIT OF MASTER THOMHILL, oil/can by Sir Tliomas La^^^^ence
THE GECGPuAPHER, oil/v/ood by Jan Vermeer of Delft
MARCHIONESS OF ELY, oil/can by Sir Thomas Lawrence
LA RSSISTAI'ICE IITJTILE. oil/wood by J. H. Fragonard
SEATED WOMAN V/ITH HARP AND DCG, oil/v/ood by J. E, Schall
LAITDSCAPE, oil/can by Charles Fran(?ois Daubigny
XVIIc V/ILLIAM 8c MARY STYLE SETTEE V/ALEI-IISH TAPESTRY COVSPJNG
QUEEI-'I miE /ENGLISH) V/ALIfuT V/ING ARMCHAIR
GEORGE II V/ING ARI-ICHAIR, ENGLISH
SET OF FOUR GHAPLES II CAR^/ED l/ALNUT SIDECHAIRS W/RED VELVET
CHARLES II CARVED WALIRJT OPEN APJ4CHAIR
CHARLES II CARVED V/ALNUT STOOL
QUEEI'I ANNE V/ALNUT STOOL
PAIR JACOBEAN OAK JOINT STOOLS
MARQUETRY CCMiODE, FRENCH (LOUIS XV-SVI)
MARQUETRY TABLE EN CHIFFONIER, FRENCH (LOUIS XV-’.ETl)
MARQUETRY l/RITIMG T/ELE, FREI'iCH (LOUIS XV)
FPENCH RENAISSANCE CARVED WALNUT CABINET A DEUX CORPS
- 34 -
APPEriDIX II - 3
ADDITIONS - DE YOUNG MUSSUIl (Continued)
75.18.36 JACOBEAN CARl'ED AND INLAID OAIC CUPBOAED
75.18.37(A,B) pair OF ITALIAN LOUIS XV STYLE INLAID V/ALITOT SMALL SIDE TABLES
75.18.38 GEORGE II CARVED AND GILDED MIRROR, ENGLISH
75.18,39-^ LOUIS r/I CARVED AI-JD PAINTED FAUTEUIL (PAPJS)
75.18.41 DIRECTOIRE TUB BACK BERGERE, FREI^ICH
75. 18. 42 LOUIS XVI SMALL & CANED DESK aiAIR (REVOLVING)
75.18.43 LOUIS XVI MAHOGANY BUREAU PLAT, signed F, Rubestuck
75.18.44 LOUIS X^/I PARQUETRY BONHEUR DU JOUR, signed J. L. Cosson
75.18.45 LOUIS XV PROVINCIAL SMALL TABLE
75.18. 46 QUBHJ A^TIE V/ALMT DRESSING TABLE
75.18.47 QU^N ANNE V/ALI'IUT ICERROR (w pcs^
75. 18. 48 SAI’-iSON SLAYING A PHILISTINE, bronze, Giowani Bologna (after)
75.18.49 RAPE OF IHE SABINES, bronze on marble base, G, Bologna (after)
75.18.50 GANITIEDE, bronze on ebony base, B, Cellini (after)
75.18.51(A,B) bronze mortar V//PESTLE, ITALIAN XVIc,
75.18.52 BRONZE MORTAR. X^/IcTTiTALIAN or FRENCH)
75.18,53(A,B) PAIR V.ROUGHT IRON TORCHERES, ITALIAN, XVIc
75.18.54 MAJOLICA LUSTRE DEEP PLATE, ITALIAN (Deruta ware)
75.18.55 MAJOLICA PILGRIM’S FLASK. ITALIAN
75.18, 56(A,B) pair ViROUGHT IRON A^ID BRASS TORCHERES, ITALIAIT, SVIIc.
75.18,57 FOUR EMBROIDERED ORPKREY PANELB, ITALIAI^I, OTc
(A,B,C,D)
75.18. 58(A,B) pair of brass PRICKET CAI^IDLESTICKS , FIH'IISH, TJlc,
75.18.59 FRAGMENTARY CARVED LIMESTONE BUST OF A BEARDED SAIIEP, FRENCH, XIVc.
(w/antique crimson velvet covered stand)
75.18.60 CROUCHING NYMPH & STEEPING AI-IOR, terra cotta maquette, FRENCH,
XVIIIc, (in carved and gilded vi trine case i-z/lift top)
75. 18. 61 ( A, B) PAIR BRONZE DOPE FIGURES (OF AN Al'iOR HOLDING A GARLAIIDED MIRROR,
ON ROGI^ERY BASE, after John Baptiste Pigalle, (LOUIS XVT)
75.18.62(A,B) PAIR OF BRONZE CHEI'IETS, FRENCH, LOUIS :{VI
75.18.63 BRONZE DOPE & STATU /\RY MANTEL CLOCK, FRENCH, LOUIS XVI
75.18.64(A,B) PAIR BRONZE PORE FIGURAL CANDLES 'EE CKS , FPuENCH, LOUIS TJl
75.18. 65(A,B) PAIR DIRECTOIRE BRONZE PORE CHSNETS, FRENCH
75.18. 66(A,B) PAIR OF DIRECTOIRE BRONZE PORE AI^TD MARBLE CANDLESTICKS, FRENCH
75.18.67(A,B) pair OF DIPIiCTOIRE BP.ONZE PORE SMALL V/ALL LIGHTS, FRENCH
75.18.68 BRONZE PORE COLUI-INAR SMALL BOUIILOTTE LAI-iP, FRENCH
75.18.69 DIRECTOIRE BRONZE PORE CHANDELIER, FRENCH
75.18.70 FRAGMENT HEA.D OF FORTUNA, terra cotta, Roman, lie. A.D,
75.18.71 GPLTN GLASS JAR, ROMAN IIIc. A.D,
75.18.72 CLEAR GLASS BOTTLE, ROMAN, ca, II-IIIc. A.D.
75.18.73 CLEAR GU.SZ BOTTLE, ROMAiN, ca. II-HIc. A.D.
75.18.74 CLEAR GL.^3S BOTTLE, ROMAN, ca. IIIc, A.D,
75.18.75 GLASS BRACELET, ROMAN
75.18.76 CLEAR GLASS BOTTLE, ROI4Al^, ca. II-HIc. A.D.
75.18. 77(A,B) PAIR ROCKINGHAIvl GicEEN & GOLD PORCELAIN JAPJINERES, ENGLISH, C.183O
75.18.78 CHASSE, GILDED BRONZE AND CHAl-iPLEVE ENAI^IEL, FRKNCH, XIII c, Lr-ICGES
75.18.79 OVAL PLATTER, PAINTED ENAMEL, FRENCH, Jean Limousin, I528-I6IO
75.18.80 PORTP.AIT OF CHARLES DE BOURBON CONI^IETABLE DE FPJ^NCE, L. Limousin
- 55 -
APPEMDIX II - 4
ADDITIONS - DE YOUT'IG MUSEUM (Continued)
755. 18.81 AEORATION OF THE IMPMIT CHPIST, ENj\IffiL, attrib to Monvaerni , LI14CGSS
75.18.82 AETIEAS AV/APDS THE PRIZES TO HIS CAPTAINS, Master of the Aernearide
75.18.83 ASCANIUS ICTLLS I^IUIvIARIUS BEFORE 'TROY, Master of Aernearide Limoges
75. 18. 84 TI-EE ENTOMBMEI-iT, ENAIEEL PLAQUE, Leonard Limousin, Limoges , 1505-1577
75.18.85 THE INCREDULITY, ENAl-'IEL PLAQUE, Leonard Limousin, Limoges
75.18.86 SAINT JOHN, PAINTED ENAMEL PLAQUE, Suzanne de Court, Limoges, X^/Ic.
75.18.87 SCENES FROM LIFE OF CFPIST, SNAITEL TRIPTYCH, Nardon Per icaud, Limoges
(a,b, c)
75.18.88 FAiMILLE VERTE PORCELAIN VASE, CHINESE, KLANG HSI
75.18.89 FAI-IILLS VERTE PORCELAIN VASE, CHINESE, K*AI^IG HSI
75. 18. SO SAI'TG DE 3CEUF PORCELAIN VASE, CHINESE, CH’ISN LUI'IG
75.18.91 UNDERGLA.ZE RED DECORATED PORCELAIN VASE, CHIJIESE, CHPIEN LUNG
75.18.92 3 COLOR G-I,aZED bisque PORCELAIN FIGURE OF KV/AN YIN, K*AiNG HSI
75.18.95 3 COLOR GLAZED BISQUE PORCELMN OF A lv4lRRI0R, K^Al'IG HSI
75.18.94 CATC/ED JADE (GREENISH GREY MOTTLED V//3R0V/I^I) INCENSE BURIffiR, CHIIIESE
75. 180 95 C.ARVED JADE (PATE GREEN W/BROV/N) OVAL VESSEL, CHINESE
75.18.S6(A,B) PAIR OF GOLD LACQUERED BRONZE FIGURES (LAMPS), CH'IEN LUI'IG
75.18.97 BLUE AI'ID l.TIITS PORCELAIN VASE, YUNG CHENG
75.18.98 FAIELLE VERTE PORCELAIN CHARGER, K»ANG HSI
75.18.99 CHINESE EXPORT POR.CEIVTN SOUT TUREEN, CO^/ER A-NT) PLATTER
(a,b,c) “
75.18.1C0(A,B) pair of TURQUOISE BLUE GLAZED BISCpE PORCELAIN PARROTS, K»ANG HSI
75.18. 101(A,B) PAIR OF MOTTLED PALE GREEN JADE CRANES (LA^■pS), CHINESE
75.18.102 GPvEY AND BROVJN AGATE SIRUFF BOTTLE W/GREEN STONE STOPPER , CHII'IESS
75.18.103 C;U-PHOR NHITS PEEING GLASS SNUFF BOTTLE V//GREEN OVERLAY, CHINESE
75.19
75.20.1
75.20.2
75.21.1
75.21.2
75.21.3
75.21.4
75.21.5
75.22
75.24.1
75.24.2
75.24.3
75.24.4
75.24.3
75.24.6
(a,b,c)
75.24.7
(A,B,C,D)
Estate of Rose (Mrs. John) Magnin
GAi'IE TABLE, AI'ISRICAN, ca, I83O
Gift of Mrs. J, Alden Converse
QUETAR ST/JIDING MAN, COSTA RICA, Volcanic stone
QUETAR SITTING MAN. COSTA RICA, Volcanic stone
Gift of Ms. Martha H. Kelly
LZGA M'lGINGA TYPE J'LTJS FIGURE, Ivory
LSGA LmCJAKONGO TYPE IL4SK, Ivory
LEGA M'lGINGA TYPE FIGURE, Ivory
LEC-A ILU'IGH-IA TfPE FIGURE V//POINT, Ivory
LEGA KALUITL.I SPOON FIGURE, Ivory
Gift of Mr, & Mrs, Marc A, Franklin
SOFA V//HOPGEHAIR COVERING, Ai^'IERICAN (NEW YORK), ca I83O
Gift of the Charles E. Merrill Trust through
Mr. & Mrs, Robert A. Magoi^ran 1822
SOUP/PUNCH LADLE, Ster. silver w/vermeil bowl, V/m.Chavmer , London/
SALVER, ENGLISH, GEORGE III, ca I808 (Sterling silver)
SAL’vTR, STERLING SILVER, ENGLISH, GEORGE III, ca. 1794
SALVER, STERLING SIU/ER, GEORGE III, Sheffield, ca. l824
I-ELK JUG, STEFEING SILVER, AMSRIC/uN, Philadelphia, l835-l846
HOT VJATER KETTLE AND SPIRIT VJARI-ER STAND, s/s , LONDON , ca . I836
SET OF FOUR GEORGS lU VERI-'EIL SERVING SPOONS, ENGLISH, London, l8C5
Gift (Museum Foundation) of Dr. & Mrs, Karl Fischbach
- 56 -
APPEiroiX II - 5
ADDITIONS - DE YOUNG MUS™ (Continued)
75.24.8(a,b)
75.2^.9(a-i)
75.24.10
75.24.11
75.25.1(A,B)
75.25.2
75.26.1
75.26.2
75.26.3
75.26.4
75.26.3
75.26.6
75.27
75.28
75.29.1
75.29.2
75.29.3
75.29.4
75.30.1
75.30.2
75.30.3
75.30.4
75.30.5
75.30.6
75.30.7
75.30.8
75.30.9
75.30.10
75.31.1
75.31.2
75.31.3-372
75.32
GARNITURE COMPOTE WAH'^R, ENGLISH, Bigelow & Kennard ca l847
CRUET STAI^ID V/ITH EIGHT FITTED GLASS BOTTLES, ENGLISH, London /
COFFEE POT, S'TERLING SILVER, GEORGE III, ENGLISH, London, ca 1827
TEA POT, STEPE^ING SILVER, GEORGE III, ENGLISH, London, ca 1826
Gift (Museim Foundation) of Dr. & Mrs, Karl Fischbach
PAIR OF BUCKLES, ENGLISH, c. 1780
BUCICLE, "ROSE CUT” GLASS, EI^IGLISH, c. 1780
Gift of Mr. Stephen Crawfurd
GURO MSK, IVORY COAST, AFRICA
BAULE HEDDLE PULLEY ;-^^l, IVORY COAST, AFRICA
BAULS HEDDLE PULLEY 7,'^2, IVORY COAST, AFRICA
BAU^ HEDDLE PULLEY 7i^3, IVORY COAST, AFRICA
BAULE HEDDLE P'ULLEYlprT IVORY COAST, AFRICA
BOBO BFu^SS RING, UPPER VOLTA
Gift of Miss Constance Roach
FEMAIE ANCESTOR FIGUPE, MALIIUEE, MALI, i-zood
Gift of Mr, Zc Mrs, Erie Lor an
NIGERIAN CEPJU-gC COOKING POT (possibly IBO)
Gift of Ms Barbara M, Roth
YORUBA CAP V/AIASKS ATI) ABSTRACT DESIGN
PEICADE, FON, DAIiOMEY
KOPHISD mW:! MASK. IBO, NIGERIA
STORAGE CONTAIPiER V/ITH CO^/ER, DAHOMEY
Gift of Dr, & Mrs. Robert Kuhn
MEXICAN FAKE OF HUICHOL YARN PAINTING (was L75.17.1)
THE LIFE FORCE OF PEYOTE, yarn painting (was L75,17.2)
HOI-/ UE SACRIFICED THE DEER, yarn painting (was L75.17.3) /.4)
THE DEAD SOUL’S JOUTEIEY TO THE SPIRIT V/ORLD, yarn ptg (was L75.17
HOlv MAIZE BA.BY CAUSED THE FLOUERS TO GROV/, yarn ptg (was L75.17.5
HOV/ V/E CONTa-gLATE HIIOIRI IN V/IRIICUTA y.p. (v;as L75.17.6)
THE HUICHOL RECEI^/E MAIZE IN THE FIRST TIMES y.p. (was L75.17.7)
IlHE HELL VHIERE ALL SINNERS GO, yarn ptg. (was L75.17.9)
V/HERE OFFERINGS ARE MADE IN THE SEA, yarn ptg. (was L75.17.10)
AN OFFERING GltEDI TO THE TREE OF THE l/IND, yarn (was L75.17,ll)
Gift of Mr. Peter Young (10 loans transferred to gifts)
I4AIDEN SPIRIT (miA\J) CAP MASK, rPEGERIA, 130, H: 12”
^lAIDEN SPIPJT (i-mv;) CAP MASK, NIGERIA, IBO, H; 17”
COLLECTION OF 370 ASHANTI GEOMETRIC GOLD V/EIGHTS (70 lg,300 snail !
Gift of Dr, Sc Mrs, Harvey Crystal
URH030 STANDING FIGURE
Acquired in trade from Mr. Harvey Menist for:
54.76.8 ESICIMO IVORY BQ\-/ DRILL
45188 ESKIMO IVORY BO\IL DRILL
2247 MAORI FEATHER CLOAK
57,13.3 SUKU ”HEI‘.IBE” MASK
59,45 ”U1-IEKE” KA17AIIAN V/OODEN BOV/L
- 57 -
APPENDIX II - 6
ADDITIONS
75.33
75.34.1-4
76.1.1
76.1.2
76.2
76.3
76.4
76.5.1
76.5.2
76.6,1
76.6.2
76.6.3
76.6.4
76.6.3
76.6.6
76.6.7
76.6.8
76.6.9
76.6.10
76.6.11
76.6.12
76.6.13
76.6.14
76.6.13
76.6.16
76.6.17
76.7
76.8
76.9.1
76.9.2
76.9.3
76.9.4
76.10
DE YOIDIG MUSEUM (Continued)
CHEST-ON-CHEST, FPDNCH, 17th c. (was L72.29)
Gift of Dr. & Mrs, H. Sidney Newcomer
SET OF FOUR DANK GPEEN GLASS V/INE BOTTLES, ENGLISH, c. 1780
Gift of Mr. Eric Shrubsole
OVAL DISH/PLATTEP, SPODE, ENGLISH, c. I83O
CQVEPvSD TUREEN A^ID STAND, SPODE, ENGLISH, c. I83O
Gift of Mrs. George Crocker, thni The Museum Ainciliary
SEPIK MASK, CLAY MODELLED ON BONT:, imJ GUINEA
Gift of Edith and Joseph Hartnett in Memory of V/m.C. Harnett
LAVA LAVA (TEdlLE), SATWAL ISLAND, YAP DISTRICT, MICRONESIA
Gift of Mr, 8t Mrs, Peter V/addell
RESTOPJiTION PORRINGER 8c FOOTED STAND, ETJGLISH, London, c. 1662
Gift of The Roscoe and Margaret Oakes Foundation
LEGA »NGINGA TYPE FIGLU^E, hone
LEG A ^NGINGA TYPE FIGURE, hone
Gift of Mr. & I-irs. Marc A. Franklin (anonymously)
MIYAN POT VJ/GLYPH BAND, ceramic
TEOTIHUACAI^ DANCER, ceramic figurine, early classic
MAYA BAT GOD FIGUPJD, ceramic, Guatemala, pre-classic
MACE HEAD W/^IPD-LINE HEAD, stone, Costa Rica
MACE HEAD ¥/EAT-LIKE HEAD, stone, Costa Rica
MACE liEAD lv70VHL-LII\E HEAD, stone, Costa Rica
MICHOACAN FIGURINE TORSO, ceramic
MICHOACAN FEI-IALE FIGURINE, ceramic
CHUPICUARO FEMALE FIGURINE, ceramic
MAYA "TCAKOL” CER.'\MIC POT
MAYA INCISED (GLYPHTcI^MIC POT
MAYA CERAliIC POT ^ilTII GLYPH BAl'iD, Late Classic (Polychrome)
MAYA CERAI'4IC POLYCHROME BEAKER, Late Classic
JALISCO CER.AIMC FE-IAXE FIGURE (STANDING)
JAXISCO CERAI-ilC MALE FIGURE (SEATED)
TLATILGO OLI^'iECOID FEMALE FIGURE (ST.^JIDING)
MAYA JAINA CERAMIC FIGUP.I^IE IN FORiM OF SEATED HUNCHBACK
Gift of Mr, & Mrs, Lev/is K, Land
CARVED V/OODEN STANDING MAXE FIGURE, BAULE, IVORY COAST
Acauired in trade from Robert H. LovMe Museum of Anthropology
for: 37,13,16 CHIEF’S CHAIR (Axel M. Peterson Bequest)
BENIN BELT MASK IN FORM OF LEOPARD, bronze, copper & Iron inlay
Gift of Hie Salinger Fund
MA.SH0NA HEAD REST, MOZAIHIQUE, wood
ASHANTI GOLD V/EIGHT, GHANA (IN SHAPE OF A BACKREST)
ASAHANTI GOLD MEIGHT, GHANA (IN SHAPE OF A FLAT BELL)
ASHAiNTI GOLD V/EIGHT, GtlANA (IN SHAPE OF AN ADZE)
Gift of Various Donors in Memory of V/illiam C, Hartnett
PAIR OF GILT V/OOD CONSOLE TABLES & ERRORS, John Linnell, London, 1763
,B2) Gift of the Charles E, Merrill Trust through
Mr, and Mrs, Robert A. Magowan
- 38 -
APPENDIX II - 7
ADDITIONS
76,11
76.12.1
76.12.2
76.13.1
76.13.2
76.13.3
76.13.4
76.14.1
76.14.2
76.14.3
76.14.4
76.14.5
76.14.6
76.14.7
76.14.8
76.14.9
76. 14.10
76.14. 11
76.14.12
76.14.13
76.14.14
76. 14.15
76.14.16
76.14.17
76.14.18
76. 14.19
76. 14.20
76. 14.21
76,14.22-3
76,14,24-5
76. 14.26
76.14. 27-8
DE YOUNG MUSSUI4 (Continued)
WOODEN HELMET MASK, MAIEILLA, NIGEPJA
Gift of Saks Fifth Avenue through Mr, James Ludvn.g
V/ATER SPIPJT MASK, IJA17, rPEGERIA, polychrome wood
STAFF V//3IPD, YOHUBA, NIGERIA, wrought iron
Acquired in trade with Mr. Henry Menist (see 75.32)
CHASTITY BELT, PULUSIK ISLAI'ID, EAST CAROLINES
ADZE, KAPINGAi-LARAiNGI, EAST CAROLINES
SHARKJICOK, EAST CAJ^CLINES
FAN, EAST CAROLirffiS
Gift of Mr. H. D. Huxley
BASKET, MAI^IBAICUSHU, BOTSWANA
BASIGT, M/JIBaICJSHU, BOTSV/ANA
BASKET W/Hi^roLE, BAYEI TRIBE, BOTSV/ANA
BASKET, iuE-lEAKUSHU, BOTSV/ANA
BASKET W/Ui'IFINISHED RIM, MAMBAICUSHU, BOTSV/ANA
WTC, MAIB/JCUSIFJ, ANGOLA
APRON, MA'^BAvUSHU, ANGOLA
LARGE CHILD APRON, GUI BUSHl®!, GHANZI
SMALL CHILD’S .4PR0N, GWI BUSHI'^IEN, GHANZI
CARRYING BAG, GWI BUSHlIEr'I, GHANZI
HUilTING SATCHEL W/CARRYING HANDLE ON ONE SIDE, G\.E BUSffi'EN, GHANZI
HOLLOW BONE SMOKjPJG PIPE, GVJI BUSHItEN, GHANZI
SM4LL SHOICENG PIPE, GVE BUSHI4SN, GHAIZI
PIPE CLEANER, GV/I BUSHl^IEI'I, GHANZI
BEAD NECICLACE, SHELL, GV/I BUSHITEN, GHAIZI
NECKLACE OF SMALL POUND OSTRICH SHELL EEAJ3S, GV.T: BUSHI'>IEVI, GHAIZI
PORCUPINE OUILL/OSTRICH SHELL OPilA'IEVIT , GWI BUSA'IEN, GHANZI
FINGER PIANO, WOOD WA'iET4A KE'ZS, GV/I BUSffi'IEN, GHAIZI
SCENT ECX OF TURTLE SHELL W/POWDER PUFF, GWI BUSIDEEH, GHAIZI
SCENT BOX OF TURTLE SHELL W/6 STRINGS OF BEADS, GlvI BUSHI'IEN, GHANZI
PAIGE PJ.TTLE, GV/I EUStR'iEN, GHANZI
SPEAR/BCW, GV-E BUSHI^IEN, GHANZI
DIGGING STICK/FIRE STICK, GVE BUSHMEN, GH.AZI
HUNTING POUCH W/FOUR AFcKOWS, GVE BUSIAIEN, GHANZI
Tl/0 OSTRICH EGGS FOR CARRYING WATER, GVE BUSHI®!, GHAIZI
Gift of Mr, and Mrs. Charles FraAcel
Total; 64o item
- 59 -
PENDIX II - 8
Loans TO tho M, H« de Yourif? Memorial Museum
*L75.15.1
*L75.13.2
*L73.13.3
"L75.13.4
"L75.13.5
*L75.13.6
'*175.14.1-12
-*175.15
-*175.16.1-57
175.17.1-99
*175.13
*175.19
*175.20,1
*175.20.2
*175.20.3
*175.20.4
*175.20.5
*175.21
*175.22.1
175.22.2
*175.23.1-14
*175.24.1-33
*175.25.1-26
L75.26(A,B)
L75.27
*175.28,1-75
175.29
*175.30
*175.31-1.3
*175.32
MAN IN 2CI-1ANTIC LANDSCAPl, oil ptg by Atkinson Grimshaw
JATiES MACr^M\lD IIIGLIJIVULDIE, oil ptg by Gilbert Stuart
LANDSC/iPE IJITH ANIMALS, oil ptg by Roland Savery
PEASANTS HEARING A TOAST, oil ptg by Paolo Ronaldi
GEORGE \7ASHINGT0N, oil ptg by Jane Stuart
COON DOG, I'/atercolor by Andrew Wyeth
Loaned by Mrs, Peter McBean
11 PASTEL DRAWINGS 1 OIL/CAI'IVAS BY PHILLIS IDEAL (Exliibition)
Loaned by the Artist through The Grapestake Gallery
TAPESTRY »SUI-1I^IER & V/INTER"
Loaned by Mrs, Fred Kohlenberg to be restored by
Tapestry Conservation Department
52 BLK & VJII PHOTOGRAPHS S: 3 PHOTO ALBIMS BY JOB RAMOS (Exhibition)
Loaned by the Artist
COLLECTION OF 99 HUICHOL YAPU DPJIV/IMGS (FUTURE GIFT)
Loaned by Mr, Peter Young
BUST OF YOUNG WOMAIM, bronze, enamel & green stone by Korschann
Loaned by Charles Douglass for possible Museum purchase
HEAD OF YOUTH, Apulian Kotyle, 4thc, B.C,
Loaned by I^Ir. William S, Picher for Egyptian Exhibition
TECTILE. MONROVIA, LIBERIA
TEdlLE. AIOUI, IVORY COAST
TE:(TILE. dcgon (bought in SANGHA, MJlLI)
TEXTILE. KPELLE, LIBERIA
TEXTILE. I^ELLE, LIBERIA (TOViN OF KPAIYEA
Loaned by Mr, Thomas K. Seligman
textile IROM NORTH VIETNAI4
Loaned by Mr, Allan H, Berrin
YORUBA EPA HEADDRESS. BAiMGBOYE SCULPTOR
URHOBO STAI'IDING FIGUPvE (Used in trade: see Accession Number 75.32)
Loaned by Mr. Harvey Menist for possible Museum purchase
14 V/ATERCOLOPId, PAINTINGS 8c DPiAWlNGS BY LENNY SILVERBERG (E::hibit)
Loaned by the Artist through the James V/illis Gallery
33 V/HITE PORCELAIN OBJECTS BY COILLE HOOTOI (Exhibition)
Loaned by the i-'intist
DPJV^.INGS. DOCUI-IENTS, PHOTOS OF CHRISTO’S ’’RUNNING FENCE PROJECT'*
Leaned by the Artist (Exliibition)
PAIR OF TORCKEREB, v/rought iron/w 3 tiers, Italian
Loaned by Mr, & Mrs, Leonard Martin
ORIETTRAL RUG (FOR USE IN MEW ENGLISH GALLERY-GALLERY #17)
Loaned by Mr, & kirs, D, Graeme Keith
75 OBJECTS RELATING TO THE MEDCICAkl '>DAY OF TItE DEAD” CELEBRATION
Loaned by Yolanda Garfias Woo ' (Exhibition)'"
NAVAJO SILVER NCECiaACE W/39 BEADS & HAND STAMPED DESIGN MOTIFS
Loaned by Mr. Fred Iving, V/est of the Moon
SILVER POPRINGER V//COVER 8. FOOTED SALVER. London, 1662
Loaned by S.J, Shrubsole (Purchased; see Accession No, 76,4)
THREE ORIENTAL RUGS (for possible purchase)
Loaned by Mr, Joseph ILilejian, Carpets of the Orient
MOTHER AND TV/O CHILDREN, oil ptg by Mary Cassatt
Loaned by Mrs, Alexander Albert
- 60 -
APPEI'IDIX II - 9
Loans TO De Yoimg; Memorial Museum (Continued)
L75.33
*L73.34.1
*L73.3^.2
L73.35.1
L75.35.2
L75.33.3
L73.33.4
L75.35.3
L73.35.6
L75.35.7
L73.35.8
ILEIIE BOTTLE ^ dark brovniA>lack glass, English, late l8th c.
Loaned by Mr. Leroy Dutro
BENIN BELT MASK IN FORI-I 07 LEOPAED, metal (Purchased; see #76.8)
BENIN FACS , bronze (Possible purchase )
Loaned by Tom Alexander, Alexander Suggs Gallery
SOLID CLAY FIGUPE, TLATILCO STYLE
PLAIN\7ARE BOVJL,
CHU'PICUARO STYLE,
CLAY
POLYCHROME TRIPOD EOV/L, CHUPICUARO
STYLE, CIAY
STANDING FEMALE
FIGURE, CHTPICUARO
STYLE, CLAY
PTMAL.E FIGURINE.
, MIGHOACAI^ STYLB,
CLAY
FEMALE FIGURINE
IMTH CHILD, MICHOACAN STYLE, CLAY
FEMALE FIGURII'iE,
, CHUTPICUARO STYLE,
CLAY
STANDING STOILE FIGURE, TEOTIHUACAN-GUE'APEEO STYLE
Loaned by Mr. & Mrs. Erie Loran
L75.36 SET OF FOUR GEORGE III CAI^IDLESTICItS, J. Carter, London, 1772-1773
(A,B,C,D) Loaned by Mr. Richard Gump
L76.1.1-12 12 MAYAN, AZTEC, OLI-IEC. COSTA RICAN, etc, OBJECTS FOR DISPLAY
Loaned by Mr, Ed Nagel
*L76, 2.1-20 20 BLK & m PHOTOGPJgHS OF I'ffiST AFRICA BY LUCAS KIERS (Exhibition)
*L76.3
L76.4(A,B)
L76.3a-31
L76.6.1
L76.6.2
L76.6.3
L76.6.4
L76.6.5
L76.6,6
L76.6.7
Loaned by the Ai'tist
V/ARRIOR ON HORSEBACK, bronze on marble base, loth c.
Loaned by Mr, Ernest Joresco for possible purchase
(transfered to Legion of Honor, 7/2/76)
NAYARIT PAIR, CERAMIC
Loaned by Mrs, Russell E. Smith
31 BLK & PHOTOGRAPHS OP OTAmO INDIilNS, ECUADOR BY BENNA KOLINST:
Loaned by the Artist (Exhibition)
MAN IN ROMANTIC LAIIDSCAPS, oil ptg by AtldLnson Grinishax';
JAI^'iES MACDbMALD INGLEIDYULDIE, oil ptg by Gilbert Stuart
LANDSCAPE IviTH AI'i'IMALS , oil ptg by Roland Savery
PEASAl'fTS HEARING A TQ.''LT, oil ptg by Paolo Ronaldi
HiE TURICEY SHOOT, oil ptg by Julian Scott
COON DOG, v/ater color by Andrew V/yeth
STARS OP THE RACE, oil ptg by Alfred J, Munnings
Loaned by Mrs, Peter McBean
Total (for other than temporary exiiibits;
162 items
* Note; Loans returned during period of the report other than those peirt
of ercliibitions; 21
Loans returned this period which v;ere loaned previous to
the 1976-1976 period 107
125
- 61 -
APPENDIX II - 10
Loans FPQM the M, lu de Young Memorial Museum
Various
Numbers
59-48.13
59.21.2
60.24
75.31
50558
Various
Numbers
59.32
16.285
60.7
Various
Numbers
10 ITEIIS: MOPTAPS, FIELD CANNON, PEDESTALS, To:
OEGAN, SETTEE, APMCBAIR AND SIDE CHAIN
DDESS , American, c. 1900
DNESS, American, I890/I9OO
l-UDDING DPJi]S3, American 1902
201 ASHANTI GOLDV/EIGHTS , 3 SPOONS
1 CONTAINED V//LID
FOX IN A CIIICICEN YARD, oil ptg
Jean-Bap tiste Huet
Presidio Array Museum
Indefinite Loan by
D.G, Keith
July 1, 1975 Sc
July 25, 1975
To: Calif. State University
Fullerton, Ca.
"ASHANTI GOLDV/EIGHT EXISBITION
Aug. 15, 1975-Aug. 28, 1975
To: Toledo Museum of Art
Art Institute of Chicago
National Gallery ofCanada
"THE AGE OF LOUIS XV; FPENCH
PAINTING 1710-1774" '
Sept. 29, 1975-June 1, 1976
(v;. Legion Collection ptg.)
15 ITEMS: PAPISPE, DAGGERS, SUIT
OF API'-IOP, HELMET, ETC.
To: Oakland Museum
Special. Eriiibition arranged
by Tom Lark, Asst, to Ben
Hazard, Curator of Erchibit-
ions Division, Oakland Mus,
11/1-12/1, 1975
SAINT CIIPISTOPHEP. carved wood
V/est German, c. l4C0
To: Portland Art Museum
' »MASTEPV/ORICS IN 1700D: THE
CHRISTIAI^I TP.^^DITI0N"
11/11/75-1/6/76
CHASUBLE , center front & back
V/orkshop of F. Glaize, Krakow,
Poland, c. 1747-1758
BENJAI-gN IP.HIKLIN, terra cotta
Jean Antoine Houdon
20 STENCILS .4ND 7 PATi^EP.NED
To: Art Institute of Chicago
"VESTMENTS"
11/11/75-1/18/76
To: Fogg ikrt Muse’ura, Harvard
University, Cambridge, Mass.
"lETAI-'OPPHOSES IN IQTH
CENTURY SCULPTURE"
11/19/75-1/7/76
To: Rudolph Schaeffer School
of Design, San Francisco
Special Ibciiibition
11/19/75 to present
- 62 -
APPENDIX II - 11
kZOSS
41771
37656
43630
52,10
69.30.6
Various
Niunbers
Various
Numbers
49835
X71.130
(a,b,c)
L74,22.1
L74.22,2
L74.22.3
Loans FPOM M, H. de Youns: Memorial Museum (Continued)
IHE MIPROH, oil ptg., van Sloun
KCPULSION OF ADAIi & EVE FPOI-l
GAPDEN OF EDEN, oil ptg, van Sloun
THE V/INEI-'LAKEIR, Arthur IIathei;s
DEEP VA'TEP, oil ptg, I.A.Djenyeff
YUCCA, pastel by Hov/ard Cook
COLONEL AAEON CG-DSN, oil ptg
Ezra Ames
CAIE^ONBALLS , PSDESTALE
, CHANDELIERS .
HlH-IETS , RADIO, ETC,
30 ITEI'IS: PKOTCGPi\PHS ,
LiEMOPJlBILIA
PEPTAII'UNG TO 1894 MIDl.'INTEP EIPOSI-
'TION, GOLDEN GATS PAPJC MUSEUM ETC,
MARIUS AMIDST EIE RUIN
S OF CARTHAGE
MANTSli SET, 3 pcs, gilt on metal,
marble, cut crystal
To : California Historical
Society Special Exhibit arrang-
ed by Catherine Hoover
11/22/75-12/22/75
To: Museum of New Mexico,
Santa Fe - Special Exhibition
7A/75-Fresent
To: University of Arizona
Museum of Art: 1/11/76-2/15/76
Santa Barbara Museum of Art
2/29/76-3/28/76
V/i Chita State Museim, Kansas
4/11/76-5/9/76
"1st FLO' .EPS OF OUP VSELDEP^mSS"
To: Presidio Army Museum, S.F,
Presidio, Indefinite Loan
arranged by D, Graeme Keith
To: Calif. Historical Society
San Francisco
"GOLDEN GATE PAPK: ITS HISTORY"
To: Yale Urd.versity Art Gallery
Nev; Haven, Connecticut
2A5/76-7A/76
Victoria & Albert Museum,
London, England
6A/76-II/I/76
".LMEPICAN APT; 1750-l8c0,
TO^ JAPPS INDEPENDENCE"
To: The Museum of Fine Arts
Houston, Texas
"THE GOE-gC PEVIVAL STYLE IN
AI lEPy A ,~~iH3C-1870' '
3Af/76-6/'22/76
EIE GUIDE . v;/c by
on THE CLIFF, vz/c
THE V/OOD CHOPPEP,
l/inslov; Homer
by V/inslov; Homer
v//c by V/inslov; Homer
To: George Hart, Marin Co,, Ca,
Temporary removal of loan mat-
erial for v/edding at lender’s
home. 3/25/76-3/30/76
- 63 -
APPEiroiX II - 12
Loans FROM M, H. de Young Memorial Museum (Continued)
Various
Numbers
41773
Various
Numbers
Various
Numbers
59.29.2
69.30.21
52.6.7
75.18.27
55327
44.17
6383
6384
6385
41988
3,247 ITEI-IS: ETHNIC ARTIFICATS,
CERAinC, ITCOP, PiET;iL, STONE, ETC.
SUITER LANDSCAPE, oil ptg
E. Charlton Fortune
To; S.F, Unified School District
ESEA Title I 3B90 (Yolanda
Garfias V/00). Indefinite loan
of objects to be used in study
packets circiilated to various
schools in the area.
4/1/76 - Present
To: Muckenthaler Cultural Cen-
ter, Fullerton, Ca.
"WOIEN ARTISTS IN THE VEST,
1860-1950"
4/1/76-5/30/76
16 ITEMS: BELTS, STIRRUPS, SCABBARDS,
AXE CARRIERS, POUCHES, ETC.
60 ITEMS; FIGUREIEAD, SHIPYARD
TOOLS, SHIPBOARD FURNITURE,
INSTRUiENTS, ETC.
To: Presidio Army Museum
San Francisco Presidio
Indefinite loan arrang. Keith
4/23/76-Present
To: Maritime Museum, S.F.
Indefinite loan arr, Keith
4/23/76-Present
CONVERSION OF CLOVIS, oil ptg To: Hartnell College, Salinas
attr to Roger van der V/eyden ’^RENAISSANCE FESTIVAL”
MYSTICAL r'LARRIAGE OF ST. CATHERINE
Oil ptg. atr. to F. Carracci
ELIJAH RECEIVING THE MESSAGE OF THE L0RI3
Oil ptg, atr. to F. Bassano
ENGLISH APIICHAIR, 17th c,
HOUSEHOLD HEATH, oil ptg.
School of NoriAdch
To: Office of the Mayor
San Francisco City Hall
5/l4/76-Present
(’.Tith Legion collection
objects)
PORTRAIT OF ADA BADGER, oil ptg
THE ABDUCTION (RAPE OF THE SABINES)
THE Iin/ASION (R.\PE OF TIE SABINES )
THE CAPTIVITY (RAPE OF THE SABINES)
all oil paintings
SACPAIENTO IITOIAN V/ITH DOGS, oil ptg
All a»' :vve ptgs by Charles C. Nalil
To: S.B. Crocker Art Gallery
Sacramento, California
''CIIARIJ:^ CHRISTIAN NAHL;
GC^'RSI^^ ARTIST”
-/l4/7b-8/29/76
(later to Oakland Museum)
II
- 64 -
APPENDIX II - 13
62.38
46463
43239
43923
43238
35.39
X71.44.4
59.2
66.14
PICTUPESQUE LANDSCAPE, Unknown Venetian To; Transaraerica Pyramid
STREET SCENE IN HAVANA, Clarkson Dye Gallery, San Francisco
THE TEMPLE OF SATURN, Luigi Bazzani (thru Art Programs, Inc.)
AI^ EASTERN SCEIUC, A. L. Pasini "THE ART OF TPjWEL: FROM THE
STREET SCEIIE IN ALGIERS, Keller-Reutling COLLECTION OF THE FINE ARTS
VIEW OF FLOREiNCE FROM THE ARNO, Unknoivn MUSEUMS OF SAN FRAI\[CISCO»'
A BROADSIDE OF TAMALPAIS, William Keith ‘
ROCK OF AGES, ROIiDA, A, Sheldon Pennoyer
ARCHITECTURAL STUDY, John Singer Sargent
1924,2 ATTIC BLACK-FIGURE LEKYTHOS To: Museum of Art, University
1925.7 ATTIC BLACK-FIGURE LEKPIHOS of Oregon, Eugene. -
1923.368 ATTIC BLACK-FIGURE NECK AMPHORA "THE LABORS OF HERAKLES ON
1923.346.38 CALENE BLACK GLAZED PHIALE ANTIQUITIES FROM V/EST COAST
35104 STONE HEAD OF A BEAPDED MAN (FRAGMENT) COLLECTIONS'' 3/22/76-8/13/76
392(A,B) pair of GOLD EARRINGS (''HERAKLES CLUBS")
34936 SACRAMSI^ITO railway station, Wm. Hahn To: Oakland Museum, Art Div.
43231 INDIAI^IS IN THE SNOW, V/m. Hahn "TOLLIAiM HAHN EXHIBITION"
6/1/76-Present (I7ill travel
to 3 other museums)
34.36.23/4 Pair CRYSTAL CANDLESTICKS, 19th c.
1963.23.11 PUNCHBONTi, porcelain, ca. 1790
64.31.4 TOBY JUG, ceramic
34.36.31 CRYSTAL CORDIAL GLASS
63.19.24 "FIRING GLASS", ca. I800
72.27.1-10 10 PIECES, MEISSEN TEA SERVICE
To: Cal, Academy of Sciences,
San Francisco. Indefinite
Loan arranged by D.G, Keith
for use in new HALL OF MAN
display. 6/8/76-Present
V.arious 13 DRII^IKING VESSELS, l6th-19th c. To: The V/ine Museiun of San
Numbers 2 TIN-GLAZED EARTHENT/’/ARE PLATES, I8 c. Francisco. "THOMA.S JEFFERSON
AND V/INE IN IL\RLY AI^EEiRICA"
9/23/75-6/23/76 (Extended
beyond that date)
Total Items Loaned to Other Institutions During Period: 3? 728
Items listed above returned during same period:
288
Items from previous peidods returned: 3
San Mateo Historical Society 3
California Historical Society 1
Oakland Museum, Art Division 111
Oakland Museum, History Division 3
Total Items Loaned Instituolo.is
Returned During Period: 4o6
- 63 -
I
APPENDIX III
RBCAPITULATION OF ITEMS H^IIDLSD BY THE REGISTRAR'S OFEICE
CALIFORNIA PALACE OF THE LEGION OF HONOR (not including: Achenbach Foundation)
FISCAL YEAR 1973-19^
Additions 8c Deaccessions in the Permanent Collections
Collection Objects loaned to Borrowers
Temporary Ebchibition Loans to the Museum
Possible Purchase Loans to the Museum
Extended 8c Miscellaneous Loans to the Museum
Objects Registered in Movement at the Legion of Honor:
In
Out
5
3
32
47
521
579
12
5
25
45
595
634
Total
1,279
Permanent Collection Photograph Orders
Labeled, Invoiced and Addressed
# of orders for photo!?ra-nhs
1975 17 25
1976 70
Total: kO orders for 95 photographs sent out
ADDITIONS TO THE COLLECTIONS OF THE CALIFORMA PALACE OF THE LEGION OF HONOR
(7/1/75-12/31/75 No Additions to the Collections)
1976.1 Prints accessioned by the Department of Prints and Drav/ings
1976.2 Drav/ings accessioned by the Department of Prints and Drav/ings
(see Appendix I)
1976.3 THREE SCENES raOM THE LIFE OF CHRIST, tapestry, Flemish, c. 1510
Gift of the Roscoe and Margaret Oakes Foundation, and Charles
de Brette^'/ille, Richard B, Gum.p, Archer M, Huntington 8c George D, Smith
1976.4 LA BAIGNADE (The Earthing Place), 1786, painting by Joseph Vernet,
Georgia M« V/orthington Fund Purchase
1959.70 10 RESCUED FROM ARGUS BY 1-ERCTJRY, Tapestry, Brussels, c. I65O
1959.80 BATTLE OF MARCUS AURELIUS, Tapestry, Brussels, c, I65O
Formally listed as gifts v.dth Donors retaining life estate
(accepted April 13, 1959) were received at the from the
Estate of Sidney M. Ehrraan and Florence Hellvr' ■ -i.
1964,75 A SUNirf D jr, 1902, painting by Thaddeus I7ei’'''v
forraall'/ as a gift \dth Donor retaini.vg estate
(acceptr-i June 27, 1964,) received from the Estate of H. S.
Parse.. - ■ H.
- 66 -
APPENDIX III - 2
Correction to the Annual Perjort of 197‘'l— 1973
1973.^.1 SPANISH APMOPIAL, Tapestry, Spanish Colonial, c, l600
1973.4.2 SCENE raOh THE TRIUMPHS OF PETPJmCH: THE TPIUI^H OF DEATH OVE-P
CKAS'PITY, Tapestry, Eranco-Flemish, c, 13CO
1975.4.3 igjPDISTAN OP PERSIAN CAPPST, l6-17th century
1973.4.^1 DRAGON CAPPET, Caucasian, 17th century
The above gifts v/ere transfered from the Museum Society, and
were originally gifts to the Patrons of Art and Music by Mr.
and Mrs, Robert F. Gill in 1959.
All other gifts to the Patrons of Art and Music have not been
transferred to The Fine Arts Museums of San Francisco and have
remained as loans to us by the Museum Society, Tlierefore all
1973«4 prefix numbers listed in the 1974-1973 annual report are
cancelled and only the four objects above should have been
accessioned in-th the nuiabers entered herein.
Objects Deaccessioned from the Collections of the California Palace of the
Le.cdon of Honor - Fiscal Year 1973-1976
1927.64
1937.170
1957.r71
1969.18
1940.80
1952.53
no Jr
no #
BOHEt-'IIAN FEAST, Tapestry, French, iSth Cen,
Gift of ilrcher M, Huntington
PEASANTS DINING BEFORE AN INI'I, Tapestry, Flemish, l8th Cen,
Gift of George D, Smith
PEASANTS DRII^lOIxNr^ AITO DANCING IN A GRO^/E, Tapestry, Flemish, l8th C.
Gift of George D, Smith
GARDEN LANDS CjAPE, Tapestry, French, l8th Cen.
Gift of Charles de Bretteville
The above tapestries v;ere exchanged, in a group with others from
the M. K. de Young Museum collections, for 1976.3? a tapestry
purchase approved March 17? 1976, the previous approval of all
donors having been secured by the Associate Curator of Tapestries,
Department of Decorative Arts
LE PECHEUR (The Fisherman), Tapestry, Flemish, 17th Cen.
Mildred Anna V/illiaras Collection
LOUIS XIV AT DUNKERQUE, Tapestry, French, l8th Cen, style reproductior
Gift of Paul Dietrich
Approved for Deaccession, April 27? 1976
BATTLE SCENE, Tapestry, Antwerp, 17th Cen., Heller Gift
DIAIIA AND HUNTRESSES, Tapestry, Oudenaarde
The above urmumbered tapestries submitted for deaccessioning by
the Department of Decorative Arts were approved Apr, 27? 1976.
- 67 -
APPENDIX HI - 3
Loans TO the C^aliiornia Palace of the Lef?:ion of Honor
11.73.1- 156
20.73
21.73.1- 83
22.75.1-45
23*73
26.75
27.75
28.75
29.75
30.75
1.76
2.76
3.76
4.76
5.76
29.73
6.76
7.76
8.76
9.76
10.76
11.76
12.76
13.76
14.76
156 pottery and stone objects from Mesoamerica, Exhibition
lent by the Collectors, jyir. & Mrs. Levri.s K, Land.
Untitled, landscape painting by Alfred J. Mimnings
lent for exar;iination by Peter McBean
NAPOLEONIC S^CYLB FRENCH l8th CETTTURY NECESSAIRE, mahoganny &
brass case containing 83 objects of silver, steel, ivory, wood
leather, crystal & brass for the drafting table, ld.tchen table
dressing table and dining table.
Lent anonynously
45 examples of Calligraphy on paper. Exhibition
Lent by Sai Francisco Public Library, Special Collections
ORCHARD A? PONTOISE, painting by Paul Cezanne
WOMAN AND CHILD FEEDING WATERFOWL, painting by Claude Monet
STREET SCE-^IE, painting by Maurice Utrillo
Lent Anonymously
EIE SAILOR *3 RETURN, painting by Toby Edward Rosenthal
Lent by tlr.e Florence Heilman Ehrman Trust
LADY SEATED AT VIRGINAL, painting by Jan Vermeer
Lent Anonymously for Possible Purchase
LA BAIGNADE. by Joseph Vernet
Lent Anonymously for Possible Purchase
BACCILAJTALS GROUP, terra cotta sculpture by Clodion
Lent by the Norton Simon Inc Foundation
THE ADTOITURES OF CAPTAIN CCOK, I8 panels of l8th Cen.
French WaJ.lpaper, Lent by the Estate of Gertrude H. Dodge
YOUIIG W0M7JT IN A BED BODICE HOLDING A MANDOLIN
painting by Camille Corot
PORTPAIT OF A PEASAI^FT, painting by Vincent Van Gogh
JEAIRIE HEEUTEPJNS, THE ARTISTES \70MAN, painting by Modigliani
THE CATIEDRAL OF ROUEI'I, painting by Claude Monet
THE ARTISTES GARDEN AT VETHEUIL, painting by Claude Monet
EXOTIC LAiMDSCAPE. by Henri Rousseau (re-lent)
Lent by the Norton Simon Inc Foundation
LANDSCAPE IN FRANCE, painting by Leon Richet
Lent by Melpomene Zones
THE SIGNAL, painting by Eugene Delacroix
Lent Anonymously for Possible Purchase
3 VIEWS OF THE BRQOICLYN SANITARY FAIR, l864, lithographs
Lent by Ian McICibbin WhELte
Untitled (oiO, silk screen print by Susan D. Coerr
Lent by the Artist
SEULE. 1894, painting by Edmond Fran9ois i\man-Jean
LOIE FULLER, painting by Charles Maurin
Lent Anonymously for Possible Purchase
SEATED MONK, painting by Camille Corot
Lent Anonymously for Possible Purchase
- 68 -
APPENDIX III - 4
Loans TO the California Palace of the Legion of Honor (Continued)
14. 76a. 1-239
15.76
16.76
17.76.1
17.76.2
17.76.3
17.76.4
17.76.5
17.76.6
17.76.7
17.7608
17.76.9
17.76.10
17.76.11
17.76.12
17.76.13
17.76.14
17.76.15
17.76.16
17.76.17
17.76.18
17.76.19
17.76.20
17.76.21
17.76.22
17.76.23
17.76.24
17.76.25
17.76.26
17.76.27
17.76.28
17.76.29
17.76.30
17.76.31
17.76.32
17.76.33
17.76.34
17.76.35
17.76.36
17.76.37
17.76.38
17.76.39
17. 76.40
17.76.i{l
17.76.42
17.76.43
239 examples of Japanese Packaging: Elxhibition
Lent by the American Federation of Arts
A MAN V/llH A RING, painting by an Unknown Florentine Artist
Lent Anonymously for Possible Purchase
PORTRAIT OF AGIUHS TOBIN, painting by Charles Nahl
Lent by Agnes Albert
THE MADONNA OF THE APPLE TREE, by Lucas Cranach the Elder
DEAD CHPIST V/ITH THE VIRGIN MARY AND AN ANGEL, by Veronese
THE LUTE PLAYER « c. 1596, by Caravaggio
PORTRAIT OF AN ACTOR, c. 1620-23, by Domenico Fetti
LANDSCAPE, c. 1775-o5< by Francesco Guardi
MAECENAS PPJUSENTING THE ARTS TO AUGUSTUS, by Tiepolo
TANCPID AI'ID ERMINIA, c. I63I, by Nicolas Poussin
A VISIT TO GRAl'IDMQTHSR, c. l64o, by Louis Le Nain
LA^IDSCAPE i/giH THE REST ON THE FLIGHT INTO EGYPT (NOON), I66I,
by Claude Gellee called Claude Lorrain
LANDSCAPE NEAR BEAUVAIS, c. 1742, by Francois Boucher
THE STOIIDI lass, by Jean-Honor e Fragonard
THE ATTRIBUTES OF THE ARTS, 1766, by Jean-Bap tiste-Siraeon Cliardin
THE REPAST (BREAKFAST), c. I6I8, by Diego de Silva y Velazquez
VE:TH a dog, c. 1^61, by Bartolome Esteban Murillo
THE YOUI^IG VIRGIN PRAYING, c. I66O, by Francisco de Zurbaran
LANDSCAPE WITH A WAGON, c. I618, by Peter Paul Rubens
r^AimY GROUP, c. 3J2O-2I, by Anthony Van Dyck
S AS ICE A AS FLORA, 1634, by Rembrandt Harmensz van Rijn
DAVID Airo URIAH, c. I665, by Rembrandt Harmensz van Rijn
STILL LIFE WITH CRAB, l648, by V/illem Claesz Heda
PORTHCET OF A MAN, c. I65I, by Frans Hals
PORTRAIT OF A WOMAN (CATRINA LEUNINT^) , by Gerard Ter Borch
A FOREST MARSH, c. I665, by Jacob Van Ruisdael
PORTRAIT OF A LADY, by Thomas Gainsborough
^LL LIEF, c." i8~99i by Paul Cezanjie
INHERE APJE YOU GOING? OU VAS-FU?, l393, by Paul Gauguin
STILL LIFE ICETH '^THE DANCE», 1909, by Henri Matisse
THE PAIH'IIIR«S FAMILY, 1911, by Herrd. Matisse
m'ENDSHIP (L» AMITIE) , 1908, by Pablo Ruiz Picasso
V/OPIAN l/ITH A FAN, 1908, by Pablo Ruiz Picasso
PORTRAIT OF CATHERPIE NELIDOV, 1773, by Dmitri G. Levitsl<y
FORTUNE TELLING, l642, by Alexei Gravidlovich Venetsianov
SELF PORTRAIT, 1849, by Karl Ivanovich Briullov
V/ATER 8c ROCKS NEAR PAIAZZUOLA, by Aleksandr Andreyev! ch Ivanov
VIEV/ OF CONSTANTINOPLE BY MOONLIGHT, l846, by Ivan K. Aivazovsky
PORTRAIT OF IVAN I, SHISffiCTN, 1680, by Ivan Nikolaevich Kramskoy
EVENING IN THE UKRAINE, 1678-I9OI, by Arkhip I. Kuinji
PORTRAIT OF ANTON RUBINSTEIN CONDUCTING, I887, by Ilya E. Repin
PORTRAIT OF TOLSTOY, I9OI, by Ilya Efimovich Repin
SILENCE, 1898, by Isaac Ilyich Levitan
PORTRAIT OF MARIA FEDEROVNA MOROZOVA, by Valentin A. Serov
PQRTAIT OF AI^INA PETROVNA OSTROUMOVA, by Konstantin A. Somov
PORTRAIT OF SERGEI DIAGHILEV WITH HIS NURSE, by Leon Bales t
all paintings lent by The State Russian Museum and The Hermitage
Museum, Leningrad, U.S.S.R,
- 69 -
APPENDIX III - 5
18.76
19.76
20.76
21.76
22.76
23.76
25.76.1
25.76.2
25.76.3
25.76.4
25.76.5
25.76.6
25.76.7
25.76.8
25.76.9
25.76.10
25.76.11
25.76.12
25.76.13
25. 76.14
25.76.15
26.76.1
26.76.2
26.76.i^
26.76.5
26.76.6 .
26.76.7
26. :.8
26.76.9
26.76.10
26.76.11
26.76.12
26.76.13
26. 76.14
26.76.15
26.76.16
27.76
28.76
29.76
30.76
THE OLD Vl^XINIST, CENTRAL PAPJC V/EST, painting by Childe Hassam
THE BASILICIA AT LYON, painting by Maurice Utrillo
Lent by Mrs. Ursula Cole Castle
MOTHER AND TUO CHILDPJSN, painting by Mary Cassatt
WOmi AND CHILD PEEPING WATERFQV/L, painting by Claude Monet
STREET SCENE, painting by Maurice Utrillo
ORCHARD AT PONTOISE, painting by Paul Cezanne
Lent Anonymously
NATURE DANCE, laminated wood sculpture, by Ray Sells
V/OOD SPIRIT ” ”
CELESTIAL STAGES ” "
MORI^IING OVERTONS ” ”
CRYSTAL FIRE ” ”
Untitled, bi-pyramid ” ''
Untitled, circled fonn " ”
Untitled, flowering fra " ”
CROSS ROAD ” ”
DIAiMOND CENTER ” ”
ASPARAS ” ”
SEA AURA ” ”
ASCENDING " "
BI-PYRAIgP CONSTRUCTION^' ”
LANDSIAPE ” ”
All of the above lent by the Artist for Exhibition, except
f/U., Lent by The City of San Francisco
5^3 1 Lent by Mr. 8c Mrs. David P, Marin
REFLECTION, e telling, by Dale Erickson
CONTROL TOV.rSR, colored pencil 8c graphite dra^^dng, by Erickson
TRAPPED SHEET ” "
AN OBJECT TPJIPPSD IN ITS OVJN SPACE " ”
AN OBJECT SUSPENDED FROM ITS EfP/IROMENT ” ”
AN IMAGE TRAPPED IN ITS OVHI ENIGMA " ”
SELF ENCOUI'ITER " ”
RETAINED GRID '' ”
EIGHT POINTS OF OPPOSITE TENSION ” ”
DRH^ED FOPil STUDY #1 ” ”
DRAPED FORM STUDY #2 " ”
DRAPED FOR14 STUDY ”
INNER COSMOS '' ”
SHEET IN BONDAGE " ”
TOTEi4 ” "
All of the above Lent by the Artist, for Exhibition
MAN IVITH A HOE, painting by Millet
Lent Anonymously
PORTEPuS CARRYING SACRIFICES, Ancient Egyptian relief
Lent Anonymously for Possible Purchase
ST. BARBARA, French 15th Cen. sculpture
Lent Anonymously as Proposed Gift
DANCER PUTTING ON SLIPPER, painting by Forain
Lent Anonymously
- 70 -
Air^PENDIX III - 6
Loand FROM The California Palace of the Lepton of Honor
1975.7 BUST OF MILTON, bronze
by Carrier-Belleuse
TO: PhoendLx Art IlTiseum (Arizona)
FOR: Extended Loan, 3/26-11/4/75
1941. 34. 10 MASK OF THE MAN V/ITH A BROKEN
NOSE, bronze by Rodin
1975.5.18 BUCK DEER, bronze, and
1975.5.19 DOE, bronze, and
1975.5.21 BUST OF HELENE IRIVIN FAGAN
marble, by Elie Nadelman
1941.26 PORTRAIT OF THE ARTISTES
DAUGHTER, by Carolus-Duran
1966.41 NEGRESS, ptg. by Thomas EakLns
1974.9 YOIRTG GIRL WALICENG IN WATER
bronze by Aristide r4aillol
TO: Fogg Art Museum, Harvard Univer-
sity, Cambridge, Mass.
FOR: METAMORPHOSES IN 19th CENTURY
SCULPTURE, 11/19/75-1/7/7^
TO: Whitney Museum of American Art,
N.Y.C.
FOR: THE SCULPTURE AND DRAba:NGS OF
ELIE NADELMAN, 9/23-11/30/75
AND: The Hirshhom Museum, V/ashington,
D. C., I2/I8/75-2A5/76
TO: San Jose (Calif.) Museum of Art
FOR: AI-IERICAITS ABROAD: PAINTERS OF
THE VI^RIAN ERA, 12/16/75-1/10/76
TO: The Solomon R. Guggenheim Museum,
New York,
FOR: ARISTIDE MAILLOL, 12/19/75-3/21/7C
Tlieater 8c Dance Collection Sctil-ptures:
T8cD19^2.134 FAiW ELSSLER, by Barre
T8cD1962,150 VOLINII-IE, by de Boulogne
T8cD1962.147 KARSAVINA 8c NIJINSKY, and
T8cD1962.148 SPESSIVTZEVA 8c LIFAR, and
T8cD1962.149 PAVLOVA & VLADIMTROFF, by
Maurice Charpentier-Mio
1959.62 PAVLOVA 8c MORDKIN-BACCHANALE,
T8cD1962.139 PAVLOVA 8c MORDUN-LA PERI, and
1959.72 PAVLOVA-LA GAVOTTE, by
TO: The Society of the Four Arts,
Palm Beach, Florida
FOR: THE GOLDEN AGE OF BALLET DESIGN,
2/6-3/7/76
(with 75 framed works on paper lent
by the Print 8c Drawing Department)
and
Malvina Hoffman
1959.75 PAVLOVA-SWAN LAKE, and
1959.76 NIJINSKY-LE CAPilAVAL, and
1959.77 FOKirR:-LE CAR-IAVAL, by
Emanuel Rosales
T8CDI962.I29 ICARSAITENA, and
T8cDl962.130 PAVLOVA-GISELLE. and
T8cD1962.132 PAVLOVA-BACCRiNALE , and
T8J)1962.143 KARS AVINA-PETROUCHKA , by
Seraphin Soudbinin
T8eD1962.l45 PAVLOVA, by Paul Troubetzkoy
T8J}1962.128 YVETTE CHATTRCRE, by Hubert Yencesse
1961.10
1928.39
1956.20
1936.5
LANDSCAPE IN JURA, painting
by Gustave Courbet
VALMO^EDOIS , painting by
Charles Daubigny
TO: M.H. de Young Memorial Museum, S.F,
FOR; AMERICAN ART, AN EXHIBITION FROM
THE COLLEC-TION OF MR. & MRS. JOHN D.
ROCKEFELLER 3RD, 4^7-87^5/7^
BACCHANTE ASSISE, painting by TO: The National Gallery of Art,
Elizabeth Vigee-Lebrun Washington, D.C.
BUST OF BUFFON, sc\ilpture by FOR: THE EYE OF THOMAS JEFFERSON,
J, A. Houdon
- 71 -
APPEMDIX in - 7
1963.20
1964.1
1952.77
1950,9
1926.21
1940,50
1940,35
1939.4
1943.303
1957.139
1966, 4(A)
1957.158
1942,33
1951.25
1924.125
1962.55
1962.21
SUMMER HOUSE ON THE BOSPHORUS
by Theodore Frere
Vim OF MONT ST. MICHEL, by
William Stanley Has el tine
THE SINGEL, AMSTEPDAM. by
Gerrit Bercldieyde
LA PEINTURE, painting by
Carle Van Loo
TO: Pyramid Gallery, Transamerica Bldg
FOR: THE ART OF TRAVEL, organized by
ilrt Programs, Inc., 5/3-6/2/76
(with paintings from the de Young
collections)
TO: The Toledo Museum of Art (Ohio)
FOR: THE AGE OF LOUIS XV, 1710-1774
10/24-12/7/1975
ALID: The Art Inst, of Chicago (111.)
6AI-2/12/1976
AND: The National Gallery of Canada,
Ottawa, Ontario, 3/21-5/2/1976
(xvith de Young collection paintings)
ON THE BEACH, painting
by Joachim Sorolla y Bastida
THE POOL, painting by
Jacob Ruisdael
ROMAN RUINS WITH FIGURES
ptg by G, P. Panninl
RIALTO BRIDGE, painting by
Francesco Guardi
WALL BRACKETS . Pair, French, :
CHEST , French, l6th Cen.
CABII'IET. Modern, mahoganny
TABLE, Spanish, l6th Cen.
A VISIT TO GRAI-IDPA, painting
by Charles Christian Nahl
TO: Office of the Mayor, City Hall,
San Francisco, 5/14/76 —
FOR: Extended Loan, Renev/able Yearly
(’;d.th de Young collection paint-
ings and furniture)
TO; E. B, Crocker Art Gallery,
Sacramento, California
FOR: CHARLES CHRISTTATJ NAHL: GOLD
RUSH ARTIST, 7AO-8/29/1976
(with de Young Collection paintings)
THE BRIDGE, painting by
Henri Le Sidaner
LEFT FOOT, bronze by
Arthur Putnam
TO: Delav/are Art Center, Wilmington
FOR: THE PRE-RAPHAELITE ERA;
1848-1905. 4/12/6/6A976
10; Art School, Downtown Center of
the de Your-g Museum
FOR: IKE GREAT AMERICAN FOOT SHOW
7/5-8/15/1976' "
FOREST SCENE.
HARVEST TIME.
William Hahn
painting by
painting by
TO: The San Francisco Museum of Modern
Art. 6AO/8A5/1976
FOR: THE FAUVES, Introductory Gallery
TO: Haags Gemeentemuseum, The Nether-
lands, 3/12-4A5/1976
AND: Kunsthaus, Zurich, Sivitzerland,
6/17-8/8/1976
FOR: FRONTIER AMERICA: THE FAR V/EST,
1/23/75 1 continuing exhibition circu-
lated by The Museum of Fine Arts,
Boston,
- 72
APPEI'IDIX IV
PROGRAi^ OFFICE
EXHIBITION-RELATED PROGRAI4S Arfl) EVENTS
7-2-75
Earth, Fire, V/ater
Preivew
7-6
Earth, Fire, V/ater
Poetry Reading - ’’The Quetzal"
7-27
Earth, Fire, l/ater
Fr'Jjn: Maya Through the Ages
7-27, 28
Egyptian (Chinese)
Members Reception
9-7
Earth, Fire, Water
Family Picnic
9-13
Hooven
Reception
9-26
Egyptian
Lecture
9-2S, 29
Egyptian
Lecture: Bernard Bothraer
10-4, 5
Calligraphy
Lecture
10-11
l7omen Artists
Opening Day-Slide talk: Karen V/ilson Sc
J.J* Peterson; Chamber Music; V/heels;
Jazz: BeBe K’ Roche
10-18
Christo
Talk: An Afternoon vd-th Christo
11-1
Women Artists
Slide Talk: Sandra Roos
11-2
V/omen Artists
Poetry Reading: Contemporary Women Poets
11-P
V/omen Artists
Theatre: Berkeley V/omens Theatre Ensemble
11-9
V/omen Artists
Slide Talk: Patricia Tavener
11-16
V/omen Artists
Meeting of V/omens Caucus for Art
11-16
Clayton Bailey
"Meet the Artist"
11-18
Light Line
Preview
11-30
Earth , Firs , V/ater
Morning Glory Theatre
12-5
Food Show
Reception
1-9-76
Chahine
Reception
1-16
Cremean
Reception
1-22
Norton Simon
Reception
2-12 .
Orange Crate Label
Reception
3-19, 23
Hermitage
Slide talk: Itlldred Campbell
3-21
Hermitage
Preview
3-25-26
Hermitage
Previex^
4-17
American Art
Opening Day
4-19
American Art
American Sampler (A.S.) Preview
4-21
American Art
Reception
4-24,26
American Art
A,S,: Three Artists in Colonial Boston
4-29-30
American Art
Members Reception
5-1,3
American Art
A,S,: V/hat’s American About an American?
5-8,10
American Art
A.S,: A New Landscape
5-15-17
American Art
A,S,: The Things that made Americans Laugh
5-21
Baldwin/Earney
Previev;
5-24,29
American Art
A,S,: Anerican Artists Abroad
6-5,7
American Art
A.S,; Divas of the Golden V/est
6-12,24
American Art
A.S,: Gentility and the Age of Innocence
6-20
Ray Sells
Opening
6-25
Dale Erikson
Opening
P-vlLIGHT
CONCERTS
7-20-75f 7-30-75, 8-5-75, 5-13-76, 5-30,76 San Francisco Chanber Orchestra
- 73
APPErroiX IV - 2
PKOGKAJI OFFICE (Continued)
V.IIIKEND PERFOEMIPC APTS
-5-75
Cliildren’s Films Series: Kinp:dom of the Crooked Mirrors,
The Red Balloon
7-12
Cliildren’s
Films
Series:
The Fabulous Baron Munchausen
TTie Steadfast Tin Soldier
7-19
Children's
Films
Series:
The Robot
The Adventures of Nils
7-26
Children' s
Films
Series:
Rocket to Nov/here
The Seven Arts
9-20,21
9-27,28
10-4,5
10-18,19
10-25,26
Tlie Pyramids - The Music of Ackamoor
Raymond Savryer Afro-American Dance Co.
Hoo Doo 8e The Pliythm Devils - Music
Isvani S: Hie Dance Hieatre of Om
Ali Akbar School of Music, Orchestra 8c Dancers
1-31,2-1-76 Dance Series: V/estv/ind International Folk Ensemble
2-7,8
2-14,15
2-21,22
2- 28,29
3- 6,7
3-13,14
3-20,21
3- 27,28
4- 3,4
6-19,20
Dance Seizes: San Francisco Dance Spectrum
Dance Series: Shawl- Anderson Modern Dance Company
Dance Series: Gwen Levri.s-Afro American Dance Company
Dance Series: Players
Picinist Jerome Malry
Opera: '"Hie Prima Donna"
Flutist, Mong Pil ICin
Guitarist, Spencer Burleson
Pianist, Pola Baytelman
The Composers Cooperative
OTHER PERFOPJ-fENG ARTS AMD SPECIAL EVEMTS
7-14,15,1^, The American Conservatory Theatre - Young Conservatory
17,18
7- 17 Lecture: Richard Fozzd.ni
8- 2 U.C, Extension Rodin Seminar
10-14,15 Tapestry Conservation Class
10- 17 San Francisco Conservatory Orchestra Concert
11- 7 Eleanor Antin - Conceptual Artist
11-12 Lecture for Museum Auxiliary
11-13,14, 15, The Barrister's Club - The Trial of Sherlock Holmes
20,21,22
11-16 Jeannette Morris Recital
11- 29 Smithsonian Institution: "Music in the Age of Jefferson"
Lecture by Paul Karlstrora
12- 7,10,12, Puppet Show: This Night of all the Year
13,14,17,19,
20,21,22,23,24
2- 23
3- 11
4- 19,20
4-30
John Hayx'/ard - Lecture on Renaissance Goldsmiths
Yale Chamber Players
Docent Cotincil; Reception (Hermitage)
- 74 -
APPENDIX IV - 3
PPOGPJUM OFFICE (Continued)
OTHER PERFORMING AF.TS MD SPECIAL EVET^ITS (Continued)
5-6 American Federation of Arts Trustees Dinner
5-8 Ceramic Circle Lecture
5- 22 U,C, Extension Seminar for American Art
6- 2 Berkeley Cliamber Players
6-2 Lecture to Auxiliary by V/anda Corn
6-20 Ilills College; Lecture and Reception
In addition over 20 outside groups - from the Harvard Class of 1951 to
the Ethiopian Consulate - used facilities and rooms in the Museums for
their events in 1975-1976.
- 75 -
/iPPENDIX V
DOCETIT CCUIICIL
Docent Council Personnel and Tour Statistics
A, Total number of active docents 238
A.O.A. 56
Asian 90
V/estern 79
V/estern School 13
Total number of Supporting docents 8?
Total number of Docent Council
Membership 325
B, Total number of tours given in the
Asian Art Museum and The Fine Arts Museums
Total audience
1975-1976 breakdoivn of figures ' :
1. Asian Art Museum of San Francisco
Tours
Total audience
2. The Fine Arts Museums of San Francisco
Tours
Total audience
a, M, H. de Young - Galleries of the
Traditional Arts of Africa, Oceania
8c the Americas
Tours
Total audience
b, M, H, de Yoimg 8c Legion of Honor -
Galleries of European and American Art
Tours
Total Audience
3. Tour statistics for programs functioning in
both The Asian Art Museum and The Fine Arts
Museums
a. Docents for the Deaf Program
Active docents; 10
Tours (12 adult 8c 15 school)
Total audience
1975-1976
3,535
42,504
1974-1975
5,950
63,436
1,369
13,199
1,587
21,225
1,957
28,245
2,015
33,424
468
5,848
344
3,274
1974-1975
deYouns: Lefjion
1,469 820 o51
24,397 16,662 13,488
27 60
1,060 1,282
- 76 -
APPENDIX V - 2
DOCENT COIDICIL STATISTICS (Continued)
School Program Personnel and Tour Statistics
A. School tours in the Asian Art Museum
2 tours offered a week
13 school docents each giving a tour a week
total number of school tours 62
total student audience 2327
B. School tours in American and European art galleries of
Hie Fine Arts Museijms
3 tours offered a week
19 school docents each giving a tour a week
total number of school tours 80
total student audience 2912
C. School tours in The Traditional Arts of Africa, Oceania, and the
Americas at The Fine Arts Museums
3 tours a week
l8 school docents giving a tour a week
total number of school tours 103
total student audience 2626
- 77
APPENDIX VI
THE DE YOUNG MUSEUI''! APT SCHOOL
PERSONNEL July 1, 1975 - June 30, 1976
Elsa Cameron
Richard Fong
Kathy Oliva
John Chiu
Jim Stevenson
Shelley Dov/ell
Eileen Lew
liLchael Chin
Tom Gates
Michael Lerner
Larry Lippold
Joel V/eeden
Genevieve Jelinsky
Marylou Peacock
Ludwig Pick
Palntinp: and Drawing
Textiles
Film and Video
Photography
Printmaking and Graphics
Metal Arts
Curator-in-Charge
Associate Curator
Assistant Curator to January 1976
Assistant Curator
Senior Curatorial Assistant, Art Classes
Curatorial Assistant, Aide to the Curator-in-Charge/
CETA Program
Curatorial Assistant, Trip-out Truck
Administrative Assistant, Ro eke fell er/NEA Interns
Dept* Chairman, Art History, Librarian of Slides
Film and Video Programs
Registrar, Community Worker, Dovmtoxm Art Center
Preparator, Community V/orker, Dov/ntown Art Center
Executive Secretary
Art School Registrar to November 1975
Fiscal Officer
Leonard Silverberg, Department Chairm.an
Michael Cookinhara, Curatorial Aide
Jerry Concha, Curatorial Aide
Erica Golden, Curatorial Aide
Ralph Hilton, Curatorial Aide
John Chiu, Assistant Curator
Aung Taik, Curatorial Aide, Graphic Design
Anne Wilson, Chairman
John V/ilson, Curat oriel. Aide
Marjorie Snow
Shelley Jakobsen
Michael Lerner, Chairman
Alan Babbitt from April 1976
Michael McMillan
VAiitman McGowan (December 1975 to April 1976)
John Finedman, Chairman
Robert Hsiang, Curatorial Aide
Larry Lippold, Chairman
Sel^^^yn Jones, Curatorial Aide
Jack Loo, Curatorial Aide
Josie Grant, Curatorial Aide
Donna Seid, Chairman
Clifford Benshoof
Janet Tyne, Curatorial Aide
- 78 -
APPEl'IDIX VI - 2
THE DE Y0W:G MUSEUII APT SCHOOL
PERSOMMEL (Continued)
Ceramics Jim Stevenson, Chairman
Richard Fong
Tad Selcino, Curatorial Aide
Muralists John Rarapley, Curatorial Aide
John V/ehrle, Curatorial Aide
Josie Grant, Curatorial Aide
Trin-out Truck and Children *s Program
John Chiu
Tad Sekino
Jack Loo
Eileen Lew
Janet Tyne
Ro eke feller /OJEA Training Felloi'js in
John l'7ilson
Joel V/eeden
Aung Talk
Calvin Tanura
Ralph Hilton
Education and Arts Administration
Michael Chin, Coordinator
Cleveland Bellow Sally Casler
I'/anda Chin Masashi Matsimoto
Terry Dickey Merlee Markishtum
Peggy Gronner Leon Quinton
Mary Stofflet
- 79 -
A?pnn:i:: •
REVEirUE AIID SIS^EIIL'ITUKS STATEIEEIIT
Iluseuras Adrxiission Fimd
December 2, 1975 through June 30 j 1976
Hevenue
December 1975
January 1976
February 1976
March 1976
April 1976
May 1976
June 1976
Total Revenue
Ex-penrlitures
Holiday Pay
Salaries
Contractual Ser‘'/ices
Material 8c Supplies
Equipment
Improvements
Change Fund
Other Expenses
20,377.35
20,615.89
21,716.60
24,737.80
23,985.25
45,019.20
28,951.29
128.08
20,294.16
2,453.62
6,919.80
5,578.14
5,000.00
1,000.00
1,100.00
Total Expenditures per Controller’s
Statement, June 30, 1976
Eivcess of Revenues over Expenditures
Less; Specific amount of guarantee (G, L, 1195)
to Hoard of Trustees’ Resolution No. 33
^^185, 403.33
42,473. 80
$142,929.53
$ ^4,000.00
Amount transferred to Admission Trust Fund
(Controller’s Reserve G, L, I780) $ 48,929.53
- 80 -
APPENDIX VII - 2
ACTIIC
Tile Fine Arts Museums Foundation
Grants Av/arded for Fir-cal Year 1975-76
Grants and Pror:rams
Period of Support
Amount Av/arded
R-50-41-230
As l/e '.'are, As Me Are
MEA: Visual Arts, Photo Aid
11/1/73-10/31/76
S 8,000
R-50-20-93
Flemish Painting Catalogue
MSA; Museum Program, Catalogue
1/1/76-6/30/77
20,000
R-60-20-239
Tapestry Catalogue
riiHA: Museum Program, Catalogue
12A/73-9-20-76
23,010
R-60-20-125
Tapestry Exhibition
NSA: Museum Program
2/10/76-2/10/77
14,350
R-5C-20-173B
Rocke'fellen Exi icition
NEA: Museum Program
1/1/76-12/31/76
20,000
R60-20-371B
de Yoting Renovation
NEA: Museum Program, Reno.
1/1/76-12/31/76
159,030
Rockefeller Exhibition
Brochure
flEH: A.merican Issues Forum
7A/75-6/30/76
6,500
Rodin Catalogue
Ford Foundation
1975-6/77
19,925
French Dravri.ngs Catalogue
Ford Foundation
1975-6/77
19,460
r_60-20-277
Museum Training Program
NEA: Museum Program
llA/75-9/31/76
25,000
Museum Interns
Rockefeller
9/1/7598/31/76
■.33,900
Museum Interns
l30,000
Rockefeller 1976-1978
Total Funds Awarded: S579?175
- 81 -
APPEI'IDIX VII - 3
Grants Av;arded for ProgrraTiS Prior to Fiscr.l Year 197 >-76
Grants and Pro^crans
Period of Sunnort
Amount Av;arded
P40-20-39
French Drawings Catalogue
NEA: Museum Program, Catalogue
6/1/74-6/30/77
20,000
A40-20-331
Rodin Sculp tTire Catalogi.ie
NEA: Museum Program, Catalogue
6/1/74-6/30/77
20,000
R50-20-271B
Security-Roll-down Doors
NEA: Museum Program, Renovation
3/1/73-12/31/76
3,023
A30-44-1
Security (Legion of Honor)
NEA: Museum Program, Renovation
7/1/72-12/31/76
30,000
A72-O-985
Security (de Young)
NEA: Museum Program, Renovation
6/1/72-12/31/76
30,000
A4o-20-4B
BAACL
MEA: Conservation
1973-6/76
40,000
Total Funds: 'Sl^O^OkO
- 82 -
APPENDIX VII - 4
Grants Av/arded for Projects Ber:;inninf:!: After Fiscal Year 1973-76
Grants and ?ror:rar;.s
Period of Sun-oort Araoimt Av/arded
A40-20-331
Podin Sculpture Catalogue
MSA: Museum Program, Catalogue
6/1/74-6/30/77
4 20,000
R-60-20-32
Triimiph of Hiunarnsm
NEA: Museum Program
9/1/76-12/31/77
20,130
As Me V/ere, As V/e Are
MSA: Musevim Program, ’.7AM
11/1/76-10/30/77
14,500
American Galleries
I'lEA: Visiting Specialist
Museum Program
7/1/76-1/31/77
9,074
In-Gallery Lighting (CPLH)
NEA: Museum Program
Emergency Funding
7A/76-12/31/76
8,278.20
P5C-3^-30
Trip-Out Trucks
riSA: Special Projects
1/1/75-6/30/76
17,015
Slimmer Interns
IHA; Expansion Arts
7A/76-8/31/76
5,000
Video/Film Project
7/1/76-6/30/77
10,110
NEA: Musetun Program, l/AI-'I
Total Funds: S67,092
Total Funds for 23 Active Grants; 4826,307
- 83 -
APPEIIDIX VII ~ 5
The foUoxdLng is a list of Pending Grant Proposals
Proposed Grant and Program P.eauested Period of Support Peauested Amount
Library re cataloguing
NEA: Museum Program
General Programs
lA/77-12/31/77
Textile Conservator
NEA: Museum Program
Visiting Specialist
IOA/76-9/30/77
American Galleries,
Installation
I'lEA: Museum Program,
Utilization
11/1/76-10/31/77
Museum Training
Administration
NEA; Museum Program
1/1/77-12/31/76
Conservation-Deco, Arts
Master Apprenticeship
NEA; Museum Program
1/1/77-12/31/76
15,739
9,030
30,000
11,000
11,000
de YoLinp: Museum Art School
Museum Training
NEA: Museum Program
1/1/77-12/31/77
28,000
Appendix yni
Board of Trustees - Delores C, Malone, Secretar;’/'
Pe-elected
Mrs. Agnes -\lbert 10-23-76
Joseph M, Bransten 10-23-76
Sheldon G, Cooper 10-23-76
Christian de Guigne III 10-23-76
Cyril ilagnin 10-23-76
V/alter Nevnaan 10-23-76
Zlected
Charles L, Gould 10-23-76
George D, Hart 10-23-76
Death of Former Board President
V/illian Doss Wallace, Jr, 2-28-76
Death of Trustee
StarJ.ey Dollar, Jr. 11-17-75
?-e5ig:nation
Mrs, Robert V/att Miller 6-24-76
- 85 -
.^ppEiroix IX
THE SOCISTY
I, Personnel Ap-nointnients (Museum Society Staff)
Louise Ann Ifezzetti appointed Membership Assistant, July l6, 1975
Nicholas Watson appointed A.ssistant to the de Young Bookshop Manager,
October l6, 1975*.
II. Membership
Individual Memberships, as of June 30, 1976
Category and dues
Junior (t^lO)
1,331
Senior ($?10)
2,591
Active (^J20)
11,218
Contributing (^^30)
1,982
Sustaining Q50)
679
Supporting (^100)
231
Donor (S250)
20
Sponsor (S500)
8
Guarantor (4^1,000)
5
Life/Benefactor (one-time payment of (^5C0 and up) 62
Patron ((^1,000/year for 10 years)
Total paid memberships:
18,172
Honorary Members
4
Complimentary Members
132
Total membership:
18,308'
Corporate Memberships, as of June 30, 1976
Corporate dues are determined by the number of
the firm’s
employees v;ithin the r-ine Bay Anea counties:
25 employees or less S250 ar
inually
26 to ICO employees S500 ar
inually
Over 100 employees 91,000 annually
Name of firm
Annual dues
American Potato Co,
9500
Bank of America Foundation
1,000
Bechtel Corporation
1,000
Edv;ard A. Bonnelli & Associates
250
Booz, Allen 8c Hamilton, Inc,
250
Bronson, Bronson 8c McKinnon
250
Bryan International Travel, Inc,
250
Castle 8c Cooke, Inc,
1,000
Coldwell Banker Co,
250
Coopers 8c Lybrand
1,000
H,S, Crocker Co,, Inc,
250
Crocker National Bank
1,000
Dodge 8c Cox
250
Fireman's Fund American Insurance Co,
1,000
Flax’s
250
- 86 -
APPSI-IDIX IX - 2
THE MUSEUM SOCIETY (Continued)
Corporate Memberships (Continued)
Name of firm Annual dues
Industrial Indemnity Co. Si, COO
Marsh & McLennan, Inc. 1,000
McICinsey & Co , , Inc • 250
Natomas Company 1 , 000
Pacific Gas & Electric 1,000
Damon Reike & Company ICO
Retail Dry Goods Association of San Francisco 1,000
Rosenberg Capital Management 250
Security Pacific National Bank 1,000
Skidmore, 0\vings Sc Merrill 1,C00
Spreckels Sugar Division, Amstar Corp, 1,000
Standard Oil of California 1,000
States Steamship Co. 1,000
Stauffer Chemical Co. 1,000
Syntax Corporation ' 1,0C0
Transamerica Corporation 1,000
Union Sugar Division, Consolidated Foods Co. 250
United California Bank 1,000
Vestaur Corporation 250
V/ells Fargo Bank 1,000
Uilbur-Ellis/Coruiell Bros, 1,000
Dean V/itter & Co, 1,000
Arthur Young & Co, 500
III. EVENTS SPONSORED BY THE I-’IDSEUM SOCIETY
A, Performing Arts
'ieekend Performing Arts programs Saturday and Sunday
de Young and Legion of Honor afternoons
A continuing series of v;eekend programs of
music, dance, drama, poetry readings and lectures
Stmiraer T-^/i.li.?ht Concerts
Legion of Honor
San Francisco Cnamber Orchestra, Edgar J. Braun, conductor.
1975- 76 season
Bruce Freifeld, violinist; Rolf Storseth, cellist
Roxanne Clshausen, harpist; Roxanne Michaelian,
pianist
Eriko Sato, violinist; Lorene Adams, soprano
1976- 77 season
Works by Copland, Haydn and Mozart
V/orks by C.P.E, Bach, Mendelssohn, Mozart and
Purcell.
This Night of All the Year
Legion of Honor
A celebration of a Victorian Christmas Eve,
using rod puppets and music, produced and
directed by C, R, Figtree and Bruce D, Schv;artz.
- 87 -
July 20, 1975
July 31, 1975
August 5, 1975
Hay 13, 1976
May 30, 1976
Dec. 5-24, 1975
APPEI'IDi:
THE MUSEUT4 SOCIETY (Continued)
B, Films
International Children’s Film Festival
Legion of Honor
"The Kingdom of the Crooked Mirrors" (USSR)
and "The Red Balloon" (France).
"The Fabulous Baron MUnchausen" (Czechoslovakia)
and "The Steadfast Soldier" (Denmark),
"The Adventures of Mils" (Sweden) and
"Hie Robot" (USA)
"Rocket to Nowhere" (Czechoslovakia) and
"The Seven Arts" (Rouraania) .
C, Lectures
Professor Bernard V, Bothmer on "The Art and
Archaeology of Ancient Egypt;" de Young Museum;
open to the public.
John F, Hayward on "Renaissance Goldsmiths";
de Young Museum (afternoon) ; members only,
D, Members * Events
Champagne Evenings in honor of "Images for Eternity"
at the de Young and the Chinese Archaeological
exhibition at the Asian Art Museum.
Family Holiday Party for members and their
children; de Young Museum,
Members ^ Tea following lecture by John F, Hay’.-zard
on "Renaissance Goldsmiths"; de Young Museum.
Members* Previev/ Party for Treasure Hunt Auction,
a fund-raising event sponsored by The Museum Society
Auxiliary; Butterfield & Butterfield Warehouse.
Upper Category Members* Reception (Sustaining and
above) in connection vm.th the Hermitage exhibition;
Legion of Honor.
Upper Catep:ory Members* Reception (Sustaining and
above) in connection vm.th the Rockefeller exhibition;
de Young Museum.
Champagne Evenings in connection >nLth the Rocke-
feller exhibition; de Yoimg Museum.
July 5, 1975
July 12, 1975
July 19, 1975
July 26, 1975
Sept. 28 8c 29,
1975
Feb. 23, 1976
July 27 & 23,
1975
Dec. 14, 1975
Feb. 23, 1976
Feb. 25, 1976
March 25, 1976
April 21, 1976
April 29 Se 30,
1975
APPENDIX IX - 4
THE MUSEUIl SOCIETY (Continued)
E, Special Events (non-member)
Second .Annual Family Picnic - Legion of Honor;
open to the public.
Reception in honor of Mr, and Mrs, Norton Simon,
in connection \-ri.th the re-installation of the
collections of the Norton Simon Foundations;
Legion of Honor.
Previev; Reception hosted by the Consul General of
the USSR and the Board of Trustees in honor of the
Hermitage exliibition; Legion of Honor,
Dinner in honor of Mr, and Mrs, John D.
Rockefeller 3rd given by the Alcoa Foundation and
the Board of Trustees in connection vri.th the
Rockefeller exhibition. The dinner v/as funded by
the Alcoa Foundation, de Young Museum,
Luncheon for former Directors of The Museum Society,
follov/ing the Annual Meeting of the Board of Directors
Legion of Honor,
F, Travel
Rhine Discovery Tour
Tour included stops in Luzern and Bruxelles as
v/ell as four days cruising doxm the Rhine,
27 participants,
Scythian Gold Tour
Day trip to Los Angeles County Museum of Art to
viev; the exliibition "The Land of the Scythians,"
66 participants,
Chyter Flight to Paris, return from London.
176 participants.
"Splendours of Antiquity"
Tour through Turkey, Iran, T.ebauon, Syria and
SgyP't* 29 participants.
Day Art Tour to the Peninsula to view the private
collection of Mr, and Mrs. Harry V/, Anderson and
to visit the Rodin Collection at the Stanford
University Museum, 42 participants,
California Museum Tour
Trip to Kearst Castle, the Santa Barbara Museum
of Art, the J, Paul Getty Museum and the Norton
Simon Museum of Art in Pasadena, 38 participants.
Sept. 7, 1975
Jan. 22, 1976
Mar. 24, 1976
Apr. 20, 1976
May 17, 1976
July 25 -
Aug. 7, 1975
Aug. 20, 1975
Sept, l4 -
Oct. 12, 1975
Oct, 4 -
Nov. 3, 1975
Oct. 15, 1975
May 18-20, 1976
- 89 -
APPE^IDIX IX - 5
THE lOTSEUT'I SOCIETY (Continued)
G, Publications
Fire, Earth and V/ater: Sculpture from the Land Collection of
Mesoamerican Art by Jane P# IHvyer and Edxirard B. Dwyer, a catalogue
to accorapany the exhibition at the Legion of Honor, July V-Dec, 7» 1975.
Pobert Cremean: Two Sculntures - ’’Homage to Paul Apostle" and
"Vatican Corridor," a portfolio of photographs, v/ith an introduction
by Thomas Garver, to accorapany the exhibition at the de Young Museirai,
January 17-March l4, 1976.
Three Centuries of French Art, Volurae II; Selections from The Norton
Simon, Inc. Museum of Art and the Norton Simon Foundation, edited by
F. Lanier Graham, to accorapany the re-installation of the loan exhibition
at the Legion of Honor, Jan. 22- June 27 j 1976.
American Art: An Exhibition from the Collection of Mr. and Mrs.
John D» Rockefeller 3nd by E, P, Richardson, a catalogue to accorapany
the exhibition at the de Young Museum, Apr. 17- Aug. 15 j 1976.
Museum Calendar, issued monthly to Museum Society members and a
selected list of schools and other institutions.
IV. ECPENDITURES ON BEHALF OF THE MUSEUMS
Director’s 1975-76 Contingency Fund: $27,000,
1975-76 appropriation for the Asian Art Museum: Sl9j000
de Young Museum Art School: Scholarship program: S5sOCO,
Trip-out Truck: !wl0,000.
Art Apprenticeship program: ^1,000.
Education: ^45,500,
Exhibitions: 290,023.
A-merican V/ing: Professional ser^^ices to R. Sgherman
and T, Seligman: $k,623»
Salary and employee benefits to
D. Hoopes (see belov;) : 7,^51.
Supplies : 293 ,
American V/ing Total: $12,37^.
Expenses for flower arrangements and plant care at the de Young
Museum: Si, 3^3.
Retainer fee for Donald L, Blum for public relations services for
Museum Society-sponsored exhibitions and events: S3i600.
- 90 -
TliE MU3EL7I SOCIETY (Continued)
APPEI'IDIX IX - 6
IV. ECPETIDITUKES ON BLHALE OF THE MUSEUI'IS (Continued):
Gallery signing program for de Young and Legion of Honor: S845,
New Classical Gallery, de Young Museum (partial funding): 1^3} 430.
The salaries of the following Fine Arts Museums staff members were
funded by The Museum Society in 1975-76.
Kathleen Berrin, Assistant Curator, Department of Africa, Oceania and
the Americas j effective January 2, 1976.
Edward T, Engle, Jr., Publications Manager (part-time); effective
April 5, 1976.
Donelson F. Hoopes, Visiting Curator, Department of Paintings and
Sculpture (American v/ing) ; Museum Society funding: Jan. 22-May 17, 1976
Susan Ellen Levitin, Assistant Curator, Department of Exhibitions;
Museum Society funding through June 30, 1976.
Susan Melim, Assistant to Assistant Director for Administration;
February 3 - June 30, 1976.
P.on Pack, Graphic Designer.
V, THE MUSELH SOCIETY AUXILIARY Chaarman; Mrs, Philip G, Greene
Three suburban Auxiliaries have now been formed to help stimulate
interest in the Museum Society and the Museums in these communities:
Belvedere-'Tiburon Auxiliary: Mrs, Richard Otter, Chairman
Hillsborough Auxiliary: Mrs. D. VJ. Furbee, Cliairman
Ross Auxiliary: Mrs. Jason B, Tuttle, Chairman
Four programs were held for the suburban Auxiliaries in 1975-76,
follov;ed by luncheon for the participants;
Sentember 26, 1975: A lecture and gallery tour by Frank Norick on
the exhibition "Images for Eternity: The Art of Ancient Egypt,"
de Young Museum, (Belvedere-Tiburon and Hillsborough Aioxiliaries )
November 12, 1975: A lecture and gallery tour by Thomas Carr Hov/e
on "V/omen in Art," Legion of Honor. (Hillsborough Auxiliary)
February 19 . 1976: A lecture and gallery tour by Yvon d'Argence
on the Jade Collection at the Asian Art Museum. (Belvedere-Tiburon
and Hillsborough Auxiliaries)
June 2, 1976: A lecture and gallery tour by Professor \7anda Corn on
"Taste, History and the Rockefeller Collection of American Art,"
de Young Museum, (Belvedere-Tiburon, Hillsborough and Ross Auxiliaries
- 91 -
apps^il:'IX IX - 7
IKE MUSEUM SOCIETY (Continued)
VI, BAY ASEA GRAPHIC APTS COUTJCIL
Activities for EAGAC members during 1975-76 included:
October l6, 1975: Peception in honor of Robert Flynn Johnson, the nev/ly
appointed Curator in Charge of the Achenbach Foundation for Graphic Arts
at the Legion of Honor, Mrs, Frederick VJhitridge served as chairman for
the event,
November 8, 1975: Tour by Dr, Joseph Goldyne of the exliibition he organized
at the University Art Museum, Berkeley - ”J,M,\7, Turner: V/orks on Paper
from American Collections,"
February l4, 1976: Exliibition tour by Robert Flynn Johnson of "Artists’
Portraits and Self-Portraits" in the Achenbach Foundation galleries at
the Legion of Honor.
May 15, 1976: Lecture by Robert Futernick, Conservator in the Achenbach
Conservation Laboratory, on "Simple Safeguards for Protecting V/orks of
Art on Paper."
May 21 , 1976 : Preview for the exhibitions "Turn of the Century American
Posters: Arthur W, Barney Collection" and "Dravrings by Gordon Baldvan"
in the Achenbach Foimdation galleries,
June 5, 1976; Study session on Japanese Prints conducted by Roger Keyes
in the Achenbach Foundation at the Legion of Honor,
Jime 12, 1976: Study session on American Prints and Drawings conducted by
Robert Flyrji Johnson in the Achenbach Foundation.
June 19, 1976: Study session on Italian Drawings conducted by Dr. Joseph
Goldyne in the Achenbach Foundation.
- 92 -
^ &
t
■i
ANI'IUAL PxEPORT 1976-1977
THE FINE ARTS MUSEUIIS OF SAN FRAICISCO
M. H. de Young Memoidal Museum
California Palace of the Legion of Honor
Ian McKibbin li/hite
Director of the Museums
P.UBUIC UlSRARY
# i
I
i
i
!
IMDEX
♦
#
Director’s Forev/ord i
!• Collections Division
Department of Africa, Oceania and the Americas 1
Department of Decorative Arts 3
Department of Painting and Sculpture 3
Department of Prints and Drawings 7
(Achenbach Foundation for Graphic Arts)
Department of Exhibitions 8
Temporary E^diibitions - de Young & Legion of Honor 10
Temporary Exhibitions - Achenbach 12
Painting Conservation l4
Registrar - de Young Museum 15
Registrar - Legion of Honor l6
Library 17
II* Education Division l8
Public Programs 20
Art School 24
Docent Council 27
Department of Interpretation 29
Publications 33
Volunteer Council 34
III* Administration Division 38
Public Information Office 39
IV* Museum Society 4o
APPENDICES
Appendix I - Achenbach Foundation 45
Appendix II - Registrar - de Young Museum 8l
Appendix III - Registrar - Legion of Honor 69
Appendix IV - Public Programs 79
Appendix V - Board of Trustees 83
Appendix VI - Museum Society 84
Appendix VII - Museum Admissions 89
Appendix VIII - Grants 90
filiii
DIKSCTOR’S rOIfflWOPJ)
Renascent - bringing again into being or renev/ed vigor - is the word
which to me most aptly seems to characterize this tv/elve month period of
accomplishment. Reaffirming the principles on v/hich the Museums were
founded, considerable funds and energy v/ere expended to restore an aging
facility, and to consolidate the pliysical assets and organization of the
Museums, Through this process of renewal, there are developing nev; in-
sights and concepts of the Museum organism, • ’ 1
The story of the restoration of the tapestry collection typified the
renev;al process. The collection had been "hanging around" or relegated
to storerooms for years in the de Young Museum and the Legion of Honor,
The tii^o segments were combined for the first time and were washed
thoroughly and restored by a group of volunteers under the guidance of
Anna Bennett assisted by her engineer husband, Ralph, Mrs, Bennett
published the first comprehensive catalogue of the collection. In
celebration of the event a large group of tapestries were exhibited at
the Legion of Honor and the first tapestry symposiimi ever held in the
western hemisphere took place in November, After a year’s grad^iate study
in liiurope, sponsored by the Museum, Bruce Hutchison returned to begin
work in a newly created city position of Textile Conservator, Tliis was
gratifying recognition by the City of the restoration of this valuable
collection, \7ork on the tapestries is a continuous process, but now this
team is turning its attention also to the costumes and other textiles
owcied by the Museums,
The de Young Museum renovation, an extensive 2,3 million dollar re-
juvenation of the physical plant had profound effect on the Museums,
After several years of planning, the actual construction began in the
spring of 1976, All xrork was within the confines of the existing building
shell; the only expansion that took place was underground. By excavating
behind the existing Kress basement back towards Hearst Court, space was
lorovided for a suite of conservation laboratories and greatly expanded and
reorganized storage facilities. The whole section of the main floor level
of the Museimi designed originally as exhibition space had been usuiped for
various service activities. Out of this renovation came space for a new
suite of American Galleries, a small restaurant, new bathrooms, improved
facilities for the Art School, shipping and receiving areas, and exhibition
preparation space. This work requ.ired a long overdue "spring cleaning".
An accretion of clutter and objects left over from the days before the
de Young Museum becarae an art museum, forced decisions to dispose of a
myriad of objects. Did we really need to keep a World War I gas mask
and pieces of shrapnel in our decorative arts collection?
The renovation fell far short of solving all the foreseen long-range
needs of the Museum, It had to be recognized as Ehase 1 of a 2, 3j or 4
step process, but i^^as a substantial step forward. The space demands of
a gro^^^ing collection of staff and volunteers were hardly solved. The exist-
ing staff 'offices were divided and perhaps made more habitable but it
was unfortunate that plans for toilet facilities in this area had to be
given 1 X because of the cost of bringing drain lines and plumbing to this
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section of the building. Rearrangements in the library have made sur-
veillance easier for a limited staff. The valuable Archives of American
Art facility came doivn from temporary quarters in the tower to adjoin the
library, providing much better research and study facilities by this
relocation.
The American collections v;hich v/ere installed in the new American
Galleries , as in the case of the tapestries came from the collections
of the Legion of Honor and the de Young Museum. Not only were the paintings
combined in this nevi permanent facility but they were exhibited along with
American decorative arts. Corridors containing interpretive material were
included to give museum visitors a context in which to view these \i;orlcs of
art in a way that v/as informative ivLthout being obtrusive.
The renovation work at the de Young Museum v;as a fitting tribute to
Ransom M. Cook who retired in November as president of the Board after a
period of ten years. He shepherded the institution v/ith restraint and
great skill through a period of enormous growth, a period highlighted by
the arrival of the Brundage collection in San Francisco, and the merger of
the Legion of Honor and the de Young Museum into The Fine Arts Museums,
V/alter Neimian, v;ho succeeded to the presidency of the Board of Trustees,
took immediate steps to further strengthen the consolidation by urging that
the chairman of the Museum Society become an active member of the Board of
Trustees, thus assisting comm-unication betv/een the two important governing
bodies of The Fine Arts Museums, He also has taken steps to improve the
climate of relations between the Asian Art Museum and The Fine Arts Museums,
The Museums’ recent pattern of borrowing exhibitions instead of creating
our o;ra was reversed in an exhibition of American Art from the Collection
of Mr, and Mrs, John D, Rockefeller 3rd, It provided a new synergy between
the rausewiis and tv;o San Francisco Bay Area teaching institutions. Rather
than lecture from slides in the classroom. Professor V/anda Corn brouglit
students from Mills College and U. C, Berkeley to spend part of the course
v/orking directly vn.th origincd v/orks of art In the Mviseum. An innovative
interdisciplinary program dravri.ng on musical, dramatic aiixihistorical
resources was developed in connection with the exhiDition.
For the first time, the Museums were able to extend their operatic rs to
a location beyond the buildings in the parks. Due to the renovation at
the de Yoimg Museum, the Art School moved its classrooms to a dov/ntov/n
center in a two-story brick building at 651 Hov/ard Street on the edge of
the business district. They set up their looms for v;eaving and held various
other classes and also established a lively series of experimental ex-
liibitions. These programs appealed to a new audience. Office v/orkers
dropped in dirring limch breaks and came by at the end of the v/orking day
to take art classes. The Dovmtown Art Center became very popular and with
funds provided by the Chief Administrative Officer from the hotel tax, and
grants from the San Francisco Foundation and The Museum Society, operations
are assured for another year in this location even after classes resume at
the de Young Museum Art School in the fall of 1977*
- ii -
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Important new developments in reorganization of the staff took place.
The reorganization of the Education Division has been accomplished by separating
departmental functions between the Art School, Department of Public Programs
and the new Department of Interpretation which includes the Docent Council.
The departments v.dthin the Education Division v/ork closely with each other
and the Department of Exhibitions to develop the strongest programs for the
public.
Top management of the Museum staff v/as also reorganized. The position of
vice director for collections (chief curator) v/as abolished. New titles v/ere
given to the other vice directors; Deputy Director for Education and Exhibitions,
and Deputy Director for Administration and Development, The Director assumed
the responsibilities of the curatorial diidsion vdth strong support from the
departments idth collections, namely Prints and Dravdngs (the Achenbach) v/ith
Robert Flynn Johnson in charge, and Painting and Sculp tiire with Thomas P. Lee,
Jr, in charge. In the few months since February when Mr, Lee arrived, he has
made significant improvements in the visual presentation of the paintings col-
lections, He performs the duties of scholarly editor, very capably assisted
in the production of publications by Ed\-ra,rd T, Engle, Dividing the publication
responsibilities in this waj has been extremely helpful.
At the end of the fiscal year, nev; ciirators for the department of Decorative
Arts had been found. The approaching retirement in fall 1977 of long-time
incumbent Graeme Keith was the opportunity to augment the department in a new
way. Michael Conforti, a curator of European decorative arts, was found to
head up the department, to be assisted by Donald Stover, a curator of American
decorative arts, which is a new specialty for these Museums, Mr, Conforti is
trained not only in European decorative arts, but also in sculpture. The
present plan is to combine the departments of Paintings and Sculpture and
Decorative Arts vjith Mr. Lee turning sculpture over to Mr. Conforti and Donald
Stover, the specialist in American decorative arts, serving both curators in
an associate capacity. Thus the Museums which are strong in European decorative
arts, will have a "keeper” (in the English sense of the word) and there will be
somebody to build the presently small American decorative arts collection to
complement the strong Ainerican paintings holdings.
At the Board level, V/alter Newman has developed the concept of bringing
in outside resource people to assist the Museums though they do not necessarily
become members of the Board of Trustees, For instance. Dr, Joseph Goldyne, an
artist-collector-scholar, has been a member of the Acquisitions Committee,
Mr, Neman also instituted a Trustee Exhibition Committee, a wise move in
view of the enormity and complexity of the future big exhibitions: Celtic,
Dresden, Tutankhamim and Treasures from the Kremlin.
These exhibitions are the challenge to help realize the long range goals
for the Museums, If Tutankhamun comes, it comes by "popular demand". By the
end of the reporting period it seemed assured, Talien as a group tliese are
among the most sought after and prestigious exhibitions v/hich will be seen in
the United States, They mil keep the Museums in the cultural foregroimd in
the next several years. But they can be staged only by increasing the staff
which has been overextended even to accomplish the normal work load and the
special exhibition galleries in both museum buildings will have to have humid-
ity and temperature controls in order to handle the crov/ds anticii^ated for these
exhibitions. Controlled atmosphere for the safety of the objects is a standard
prerequisite for contracting these international exhibitions.
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In the summer of 1976 the Art V/orkers Coalition demanded that the museums
become more responsive to the community* The protest centered around the
structure of the board of trustees, self appointed and not representative of
the broad geographic or ethnic diversity of the City, and the Museums programs
were criticized for similar reasons* Although the protest had no overt
immediate results, it caused review of the trustee rotation process, staff
hiring practices and museum programming* Such scrutiny, I believe, v;ill
increase the institution’s responsiveness in the long run*
An attempt to find out who visits the Museums and why v/as one approach to
the relevance issue* An audience survey study was conducted by a Stanford
University graduate student, and a membership study sponsored by the Museum
Society was conducted by a graduate student from the University of California,
Results of both studies will be an aid to future programming and planning*
The responsibilities of a museum staff are not limited to serving just their
own museums* They frequently perform service to the museum field at large
seinring on professional committees, juries, or rendering professional
opinions and services*
This year an endeavor of this sort involved everyone at the Museums to some
degree v;hen the Association of Art Museum Directors visited the San Francisco
Bay Area May 29-28 for its annual spring meeting* It was only the third time
that such a meeting had taken place in San Francisco (previous meetings here
occurred in 1939 and 195^), the first participated in by so many art museums.
Receptions and events were held in the seven major art museums concluding with
a morning symposium at Stanford. Splendid cooperation between the museums
made the occasion a success and I am grateful to our staff and volunteers and
to the Museum Society and Board of Trustees for their assistance and
generosity.
The reporting period ended with a major acquisition coming to the Museums
through the Mildred Anna V/illiams Fund: Cezanne’s Les Rochers dans le Parc
du Chateau Noir. It is the first oil painting by this 20th century master to
be owned by a Bay Area museum. If renascence does indeed characterize the
growth of the Museums this year, the arrival in San Francisco of such a
Cezanne is very much to the point* One hopes that it will bring pleasure and
renewal to all who stop by to contemplate it.
Ian McKibbin VJhite
Director of Museums
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DEPARTI-IENT OF ^RICA, OCEANIA AND THE A14ERICAS
iMs year the major efforts of the Department nf Africa, Oceania- and The
Americas have "been directed towards planning and developing exhibitions,
developing and maintaining our groining collection, and exploring
new and better ways to interpret art to the public and encourage visitor
involvement.
Exiiibitiona
Our departmgf?b * *s effort for tMe year wag Ifesterpieoes of Primitive
Artj an isMMtlen erganited by the MusewA 'of feiMtiv© Art and iho
fod^mtloa of Arts, which included over 100 mastei^cfNJtehs: frsm Africa,
©oeasia- aM fhe toricas. The eschlMtljn as it appeared at the de Yotmg
featured a visito]>-cent©red or participatory p^lnt of view, focusing cn
central q^ueftiens like “What is a riiasterpiece?", "How useful is the term
*mast©rpi©c© * in evaluating non-¥©steni objects?" and "What are one »s «wn
feelings and preferences regarding great worl^a of art?”. Offering an
alternative to the art-in-cultural-conterb view r^resented in the permanent
gallery^ the exhibition sought to both emphasize and test the way Westerners
look at art.
The design of the exliibit reinforced the masterpiece theme by stressing the
aesthetic inpact of the objects, display areas were light and spacious,
carpeted ramps^ allowed multi-sided views of the art, and labelling was con-
fined to hand railings so as not to distract from the art. Introductory
area labels and the exhiMtion brochure explained t2ie point of view of the
show and encouraged visitors to make their own aesthetic judgements by being
more sensitive to tlieir feelings and to basic design elements lilce forr.i, line,
color and texture, ©ocent tours and an audio-visual program reinforced these
themes and an unusual educational area at the end of the exliibition, "The Game
Room”, was an active and pleasant place where visitors of all ages could
evaluate both the art and the exihibition through a series of manipulative
games, a questionnaire and three free handouts. Volunteers were on hand to
interact T>jith the public, answer questions and encourage peeple to respond
to both the art and the exhibition*
]yb.sterpieces of Primitive Art was attended by over S8,000 visitors, and we
were pleased to extend it two weelcs. Special programs included a free film
series, a syuposium given by University of GaUfomia Extension, and a special
half-day celebration id-th refreshments, entertainment and free admission to the
exhibition.
Five smaller exliibitions were produced this year. The Masai by A1 van Dalen
included 20 color photographs and a small cs,se of jeweiiy (November 2^-Januaiy
31), Tamtam by John Kaufriian was an exhibition of 20 color photographs of a
ffi-cronesian group (Febru.ary l-dune 30), and T3ie Asmat by laurens HtUhouse
consisted of 21 black and white photographs, a war shield and an elaborate
woven bo<5y costurae (July 2-October 31),
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AFRICA, OCEAIJIA AND THE AMEIGAS (Continued)
Tcfo IDitroductoiy Galleiy shows x^ere Containers (Februaiy 1-Jime 30 a-' cross-
cultural selection of about 60 prts, baslcets, boxes, etc*, froiri the Museunis *
collection, and Scrimsliaw (July 2-October 31) which focused on contact and
cross cultural inii'luences in Eskimo and early American nautical arb and
included selections from the Fine Arts Museums of 6an IVancisco, the Robert
H. Lewie Museum of Anthropology and a private collection.
Programs, Planning and On-going Research
Coordination and planning for the Huichol Ait project (Fall 1978) got underiTay
this year, Fe were extremely pleased to receive a grant in support of the
esdiibition from National Endoxjment for the Aits, and we began to plan the
accompanying publication x-rhich xdll be produced with a New York co-publisher.
All eight contributors to the publication are presently working on their essays,
and xje look forward to producing a work of lasting scholarly xTalue that offers
a variety of approaches to Huichol art,
A second major project that has reached the production stage is the Interpretive
Sheets program for the permanent galleii^r of Africa, Oceania and The Americas,
Eight different sheets, geared to xraiious ages, background and levels, xTill
inteipret our collections to the public,
¥e continue to develop materials for school use. An educational packet on the
Bushmen of South Africa containing general infoianation, slides and loan objects
was developed by a. voltnteer, Jean Colvin, Under the supervision of Yolanda
Woo, the pre-Columbian objects we placed on long-teim loan to the San Francisco
Unified School Sistrict last year have been converted to stutfy Idlts and used by
many school children.
Collections
Donations continue to grexj? ue received over 2^0 gifts this year (valued at
over $566,500), Of these donations, approximately 62% were African, 2C% were
North American Indian (1 donor) and the iTemainder xiere Oceanic, We made txro
purchases tliis year from the Salinger Fund and accepted over 175 loans (valued
at $137,000) for tempo raay display.
With the help of Ellen Werner, a long-time volxxnteer, docent and graduate stud-
ent at Lone Mbxmtain, x^e have made great strides in organizing and stoiing our
textile collection, a mssive project that promises to continue into future
years, ¥e are veiy giateful for Ife, Werner thorough and painstaldng work in
caring for oxir textiles, to say nothing of her exacting research on an elaborate
and nysterious feather collar.
As the year drew to a close we XTere very pleased to move our collection into
new storage space, and we look fon-jard to systematically reorganizing it, Flana
f«r the immediate future include incorporating riiany of our new African donations
into the perriianent gallery,
fhomas K, Seligman Eathleen Berrin
Cxrrator in aoarge Assistant Curator
Dexjartmoit of Africa, Oceania Department of Africa, Oceania
and The Americas and Hie Americas
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DEPAPTMENT OF DECORATIVE ARTS
The year ims narked by a nunber of exceptionally important additions to the
perr.]anent collection xdth particular enpiiasis on American decorative arts.
Acquisitions
Mong the most important' American additions, were;
Hiiladelphia Highboy^ ca* 1760» Gift of Mr# and Mrs, Robert A, Magoi-ian
Scenic wallpaper "Sauvages de la Mer Pacifigue”, Printed by Joseph Dofour
from designs by Jean-Gabriei Chavet, T^rench^" l8o6. Gift of Georgia M,
Worthington and The Fine Arts Museums Trust Fund, Wliile of French manu-
facture, these papers were much used in American houses of the Federal
period. The rer-iarlcably complete set of panels is in mint condition, and
the t\K> missing panels liave been filled-in xfith accurate replicas »
Ihrlor from house in Nexjbuiyport, i'fe.ssachusetts, 180^« Gift of Tlie Museum
Society Auxiliai^r,
The Herber Ship Tapestry, Albert Herter, Arae rican, 1913*
:^ard of 'Trustees purchase,
California: Poppies. Tapestry woven after a design by Iferlc Adams, Woven
during the Tapestr^r exhibition. Donated by Iferk Adams,
Among welcome acquisitions in the field of European decorative arts were the
f olloi-jing :
Jacob >s Dream, Tapestry, Flemish, l6th century. Gift of Elissabeth
Ebert' and A'rthur W, Barney.
Coffee pot. Silver, English, 1726, ]yfe.ker; Thoinas Mason,
Gift of Mr, and l‘£rs, George Hopper Fitch,
Nest of “quartette” tables, English, ca* 1810,
Gift of Magowan Decorative Arts Fundw
Silver-gilt Chalice^ German, l^th centuryj Medal of Mohammad II,
Bertoldo di Giovanni, Italian, li;80-90| Ihir of Ivory Plaques,
Gerriian, ca, 1^20,
Gift of Julius Landauer,
Exliibitions
Thirty-three tapestries fmm the permanent collection formed the nucleus of
an exhibition Five Centuries of Tapestry, held at the California Palace of the
Legion of Honor from November 20, 1976-February 13, 1977, Seven loans enriclied
the presentation, Tlie Belgian Ministry of Flemislr Culture sent a concurrent
loan exl'n.bition, ”The History of Jacob”, a series of 10 tapestries from The
Royal TJuseums of Art and History, Brussels, Anna G, Bennett's catalogue of
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DEPARTMEMT OF DECORATIVE ARTS (Continued)
the Museuns ^ perriianent tapesti^j^ collection was published at the tine of the
exhibition, and a panel of international tapestiy experts presented papers
on technical and art historical aspects of tapestries in a 2-day syiaposiunia
Preparation for publishing these papers in their entirety is in pro{p:’ess.
An exliibition. Lace from the Museums > collect iona, ’tjaa presented at the
California Palace of the Legion of Honor July 26'-Sepbember 6, 1976j it
included deraonst rations of lace maldng by local practitioners of the art.
Conservation
The textile conservation xjorkshop continues xjith the aid of many dedicated
volunteers to prepare the tapestries for the traveling exliibition Five
Centuries of Tapestries to be circulated to four American riiuseuins. The
textile Conservation Workshop and Textile Storage have been re-organized
and located in enlarged quarters and furnished xjith nex^ metal storage
cabinets ,
D* Graerae Keith, Curator-in-Cliarge
Department of Decorative Arts
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DEPARTIffiNT OF PAINTINGS & SCULPTTIRE
The Department’s past year car be described unequivocally as one of
dramatic and solid progress in all areas of activities: making acquisitions
of international iii5)ortance, sponsoring major loan exhibitions, and exhibit-
ing the permanent collection.
Acquisitions
After a somewhat dormant period of two years in acquiring paintings, the
Museums made tremendous strides this year — particularly in the area of
French paintings, purchasing significant examples from the seventeenth,
eighteenth and nineteenth centuries, St, Jerome in his Study by Claude
Vignon added a much needed religious example to the seventeenth-century
collections where genre and mythological subject matter is dominant.
The Pastoral Landscape by Louis Gabriel Moreau the Elder marks the Museujifls’
first major representation of landscape painting in the collections' already
rich and varied eighteenth-century holdings, A beautiful bronze sculpture.
La Source by Sdme Bouchardon, is a proud con^lement to our eighteenth-century
paintings' collection at the Legion of Honor, Easily the landmark purchase
for the Museums this year and one which San Francisco will continue to be
prpud of for many years is Paul Cezanne's Les Rochers dans le pare du
Chateau Noir,
Making its debut at the Legion in a new installation of nineteenth-century
French art this Spring, the Cezanne has already become one of the major
cultural assets of this city. As the only oil painting by this artist in
a public northern California collection, its importance extends far beyond
its intrinsic classical beauty to reach students who wish to study traditional
art hovering at the brinlc of the modern world.
Several gifts should be mentioned:
1976: BETTS - Portrait of Alma Sevening (oil)
Gift of Lav/rence V/estdahl, Accession # 1976,5
15th century stone sculpture St, Barbara
Gift of Paul Ballora
Joseph VSRNST - Les Baigneuses, (oil)
Gift of Mrs, Georgia M, Worthington
Joseph DECKER - Upset (oil)
Gift of Alfred Frankenstein
It should be noted that these acquisitions - the life-blood which nurtures
the grov;th of the Museums - came entirely from private funds. As our major
soTJirce of income is rapidly depleting, new efforts must be made in a broad,
cofflmunity-\d.de campaign to ens-ure our continuing program tlirough greater
endowment funds.
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Exhibitions
American Art from the Collection of I-Ir, & Mrs, John D> Rockefeller III not
only was the Museums* bicentennial celebration contribution, but it also
emphasized the Museum’s growing enthusiasm for American art, long unexhibited
during the Renovation Project at the de Young* The benefits from this ex-
hibition have come both in educational areas and the continued loan of eight
important paintings from Mr. and lirs. Rockefeller, The exhibition Jean
Baptiste Greuze afforded San Francisco the opportimity to see the first
major loan shov/ of this artist*s work, a shov; first seen in Hartford, Connec-
ticut, and later in Dijon, France,
Permanent Coll e ction
With the acquisition of three major paintings for the Legion of Honor,
of the galleries were reinstalled vri.th new attention given to scale and
educational needs. The major effort, however, was behind the scenes,
preparing for the opening of the nev; American Galleries, Virtually all the
American paintings - and they number in the hundreds - were given work,
including research, reframing, and conservation. Under the able direction
of Donelson F, Hoopes, v;e could see for the first time the importance of the
collection, arranged chronologically within themes and could anticipate with
enthusiasm the opening of the galleries on July 4th, At the same time plans
were implemented to focus our attention next year on the permanent collection
of European paintings at the de Young,
Staff
Marion Stewart, a volunteer research assistant, continued her research on
the French paintings for publication, which otherwise would not have been
possible by the salaried staff, Mary Small and Dorothy Kemper, also volun-
teers, began the research v;ork on rehanging the de Yoiing collection, Donel-
son F, Hoopes, Visiting Curator for the American Galleries, performed a
myriad of jobs which otherwise would have meant further delays for the
American Galleries, Teri Oikav/a-Picante , Conservator, besides examining all
loans and maintaining the permanent collection, worked with diligence to pre-
pare all of the American paintings for exliibition. In a few months V/illiam H
Eisner >o.ll be retiring after twenty-two years of service to the Museums,
Without his supervision, sensitivity, and attention to detail none of the
accomplishments outlined in the preceding paragraphs would have been realized
Conclusion
Ever larger demands v;ere made on the Department, all of which have been met
v/ith enthusiasm. From considering v/orlcs of art for purchase, continuing
research on the collection, and fulfilling the didactic requirements of
exhibition, to staging temporary loan shows, communicating to the public
verbally and in v/riting, and supervising conservation, \7e have endeavored to
do our best, but the demands continue to grow xidthout new staff to aid in our
goals,
Thomas P, Lee
Curator-in-Charge
Department of Painting Sc Sculpture
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ACHEI'IBACH FOUNDATION FOR GRAPHIC ARTS
In 19^8 Mr, and Mrs, Moore S, Aclienbach created the Achenbach Foundation for
Graphic Arts, and presented their entire collection of prints to the City and
County of San Francisco, vrf.th the provision that it would be housed in the
Legion of Honor, The Foundation is, in effect, the Museum's department of
prints and drawings, with the largest graphics collection in the western United
States, It houses not only a systematic representation of the history of
printmaking from the 15th century to the present (with approximately 100,000
prints) but also nearly 2,000 drav/ings, a collection of illustrated books,
and an extensive library of more than 3»000 volumes.
The graphics collection has been substantially increased through an endow-
ment bequest of the Achenbachs and by generous benefactions of other donors.
The Achenbach Foundation undertook an. active program in 1978-77 ? including
exhibitions and further acquisitions.
An important function of the Achenbach Foundation for Graphic Arts is its use
as a teaching resource for the many Universities, Colleges, and Art Schools
in Northern California, Throughout the academic year, classes of art history
students or artists visit the collection to view and discuss original prints
and drawings. These are selected and shown by the curators in the Achenbach
Foundation,
1978-77 Activities
Following is a summary of the activities of the Achenbach Foundation for
Graphic Arts (AFGA) in 1978-775 a fuller description is found in Appendix I.
Exhibitions: 15 in total, comprising 109^ works of art.
Loans to /,"GA; 704 items from 13 sources.
Loans from -‘FGA: 217 items to 15 destinations.
Gift acquisitions: 20 drawings from 10 donors; 3^3 prints from 29 donors
Purchase acquisitions: 10 drawings; 58 prints
Library gifts: 20 books and catalogues.
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DEPARTMENT OF EXHIBITIONS
The Department of Exhibitions is responsible for all aspects of the physical
installation of v/orks of art in the Museums for both temporary exhibitions
and permanent gallery installations. Serving as a coordinating and pro-
duction center, the Department interfaces vm.th all of the curatorial depart-
ments within the Museums to meet the organizational and installation require-
ments for the exhibitions program. In addition, the Department works with
the Education Department to coordinate the production and use of interpre-
tative material prepared for exhibition use, assists with the preparation of
catalogue materials, and maintains the master exhibition schedule for several
years in advance.
During the Fiscal Year 1976-1977 the Department of Exliibitions was involved
with the planning, coordinating, and mounting of 22 exhibitions, v/ith an
additional five shov/s installed at the Downtovm Art Center, Although this
reflects a reduction in the number of exhibitions installed compared to the
previous year, three of the exhibitions required a greatly increased amount
of gallery space, time, and staff energy in organizing and plamaing, SAN
FRANCISCO; AS Vffl VfflRE, AS ARE; FIVE CENTURIES OF TAPESTRIES; and MASTER-
PIECES OF PRIMITIVE ART v/ere scheduled for three months of public vievdng each
individually using betweeen 12,000 and 15,000 square feet of gallery space.
The SAN FRANCISCO exhibition and the TAPESTRY exhibition were self-organized
by The Fine Arts Museums of San Francisco.
Phase One of the de Yoimg Museum renovation project reached completion this
year with the opening of the American Galleries and includes expanded and
improved areas for the preparators workshop, design offices, and storage areas
The improved facilities and expanded space have resulted in a more centralized
and efficient design and fabrdcation operation for the exhibition and graphic
design departments and the preparators crev;.
The Classical Gallery (Gallery One) opened at the de Young in September, 1976.
Though it was scheduled to open last year, the strain of our ambitious
exhibition program delayed the completion of this installation.
Continued physical improvements to the exhibition spaces included additional
track lighting systems at the California Palace of the Legion of Honor and
hard-surfaced walls in Galleries A and B at the de Young, The soiled fabric
walls continue to be a problem of maintenance and expense in other gallery
spaces.
The exhibition program of contemporary art continued \d.th a series of shows
in Galleries A and B at the de Young Museum, The exliibitions were accompanied
by a series of programs called "Meet the Artist," instituted last year, in
which the artist appears in the galleries to meet with the museum visitors and
answer questions. Another program called Artists’ Day was also continued:
the Curator of Exhibitions met with Bay Area artists once a month to revie^^r
portfolios and discuss their works of art.
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DEPARTMENT OF EJOIIBITIONS (Continued)
The Graphic Design Department produced all of the signage for the temporary
exhibitions and permanent gallery installations, including the educational
and directional graphics for the American V/ing, a suite of ten galleries
and foiir educational corridors, FLve posters, a major catalogue, an
informational newspaper, and an introductory brochure to the museums, as
well as all membership material and the Museum Society calendar, were also
designed and produced by this department.
Adequate staffing continues to be our most serious problem. Our small crew
of six preparators, assisted by three CETA employees, reflects an increase
from the previous year, but the critical position of Chief Preparator was
eliminated from the City budget. As a result, our preparators crew vi;as
forced to function without proper leadership, while being responsible for
installing and maintaining exhibitions in over 100,000 square feet of gallery
space in two separate buildings. The elimination of this position became
even more serious as the exhibition program escalated in quantity, content,
and size, necessitating the addition of temporary preparators to assist our
small permanent crew with major installations.
Looking to the future, the time and energy of the entire staff iidll be con-
siimed by three major exhibitions that are presently in the planning and
organizational stages: TREA, CURES FROM CELTIC IRELAIO; DRESDEN: 500 YEARS
OF COLLECTING; and TREASURES OF TUTANKHAMUN. Each exhibition, posing major
problems in organizing, shipping, installation, security requirements and
crowd control, will make it absolutely crucial to have adequately trained
additional staff vm.thin the next year to assist the existing staff with the
ensuing responsibilities. Equally important is the acknowledgement that the
permanent collections continue to require proper and careful maintenance,
which, if ignored, could result in serious damage and deterioration to the
works of art. Additional trained staff, adequate materials, supplies and
equipment, and a properly functioning physical plant \d.ll be vitally
necessary for the next few years if we are to maintain a responsible balance
between major temporary exhibitions and the maintenance of the permanent
collections.
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TEMPORARY E]aiIBITIONS - Legion of Honor
FIVE CEMTURIES OF TAPESTKEES (Nov. 20 - Feb, 13, 1977) 33 tapestries dating
from the l4tli to 20th c^^tiiries, from the collection of the Fine Arts Museums,
plus 8 on loan from museums, individuals, and from Grace Cathedral, There v/c.re
demonstrations of tapestry weaving in conjunction with the exliibition, a scale
model of a Medieval Mystery Play stage, and an audio-visual program,
THE HISTORY OF JACOB (Nov, 20 - Jan, 30, 1977) - 10 tapestries from the l6th
century, lent by the Belgian I’iinistry of Flemish Cultujre as Belgium’s
Bicentennial salute to the United States, Designed by Bernard van Orley,
the tapestries were woven by V/illem de Kempeneer, and illustrate the life of
the patriarch Jacob.
A IS FOR ANIMAL (Dec. 11 - Jan. 23, 1977) - A Holiday exhibition that includes
antique and folk toy and.raals, contemporary drawings and posters, plus bio-
logical and ecological information on twelve animals.
JEAN-BAPTISTE GPJIUZE (I723~l803) (March 5 - May 1, 1977) - 96 paintings and
Sawings by the l8th century French artist. This first American selection
v;as organized by the Uadsv/orth Atheneum, Hartford, Conn,
TEMPOPJmY EXHIBITIONS - de Young Museum
AS VJE VJERB, AS Vi/E ARE; A Century of San Francisco Life in Architecture
lOct, 9, 1976 - Jan. 30, 1977) ^
The exhibition comprises four parts:
1, AS IIS IVSRE: Photographs from the collection of Moulin Studio, documenting
the achievements and celebrations of the city for more than 70 years,
2, AS NE ARE: A multi-media program that sketched the present day life of
the city, visually and orally, using the voices of native San Franciscans
to narrate a collage of slide images.
3« Our Ovm Houses; An exhibition of the development of the Bay Area's ovm.
distinctive residentiej. architecture,
4, A Gift to the Streets: San Francisco's Victorian legacy documented in
large scale prints emphasizing the detail in these 19th century buildings.
PHOTOGRiYPPIS OF THE MASAI (Nov. 25 - mid February 1977) - 20 color photographs
of the Masai, an East African nomadic group, plus a small display of Masai
jewelry and artifacts,
CONTAII'IERS (Jan, 29 - June) - A cross-ciiltural exhibition of 4o different
types of containers that include ceramic pots, baskets, pouches, vases, and
jars. Selected from the museum's collections,
MASTBPJ>IECES OF PRIMITH/E ART (Mar, 19 - June 5, 1977) - More than 150
ceremonial and utilitarian objects from Africa, the South Pacific, and the
Americas, including masks, ancestral figures, vessels, and jewelry, organized
by the American Federation of Arts,
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TEMPORARY E>n-IIBITIONS - De Young Museum (Continued)
TOM MARIONI; THINiaNG OUT LOUD (May 7 - June 26, 1977) - An exliibition of
drawings created by body movement that combines performance ant and visual
art, Marioni is founder and director of the Museum of Conceptual Art.
COLOR PI-IOTOS OF MICRONESIA (Feb. 1, 1977 - Jiily 2, 1977) - 20 color photo-
graphs of Tarnatam Islamders talcen by Bay Area photographer John I^aufman,
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TEMPORARY EXHIBITIONS 1976-1977
Achenbach Foimdation for Graphic Arts
TURN OF THE CENTURY AMERICAN POSTERS May 22 - July lo, 1976
80 Posters by a number of American artists v/hose work regularly appeared in
the national publications such as Harper’s, Scribner’s, Century* All from
Arthur Barney bequest.
DRAWINGS BY GORDON BALDWIN May 22 - JvR-.y l8, 1976
25 Precise Pen and Ink Drawings by a yoimg San Francisco Bay Area artist.
Poster published.
RECENT ACQUISITIONS September 4 - October 24, 1976
89 Prints and Dravn.ngs, recent acquisitions through gifts and purchases of
the Achenbach Foundation.
AMERICA OBSERVED: ETCHINGS BY EDV/APJ) HOPPER - PHOTOGRAPHS BY V/ALKER EVANS.
September 4 - October 24, 1976
17 Etchings by Edward Hopper; 33 Photographs by Walker Evans.
SELECTIONS FROM THE ADRIANI COLLECTIONS September I8 - November l4, 1976
123 choice selections of prints, drawings, paintings and illustrated books,
all from the extensive lifetime gifts and 1971 bequest of Brimo and Sadie
Adriani,
JAMES TOPJVIKSON September I8 - October 24, 1976
25 Prints in the techniques of etching, aquatint, and serigraph, the recent
precisionist work of a young Bay Area printrnaker, winner of the Graphics Award
of the 1975 S.F, Art Festival. Poster published.
DAVID LANCS GOINES October 30 - January 9, 1977
61 full color Contemporary Posters by a young Bay Area artist. With a full-color
poster published by the artist especially for this exhibition.
AMERICAN V/ATERCOLORS AND DRAV/INGS, from the Museum Permanent Collections
January 22 - April 24, 1977
23 American drawings and v.^atercolors from the permanent collections, selected
to complement the American Federation of Arts circulating exhibition of
American Master Drawings,
AMERICAN I^TER DRAV/INGS AND WATSRCOLORS February 12 - April 17, 1977
282 Masterpiece drawings and watercolors, dating from the earliest British
explorers in America, circa 1383, down to American contemporary artists of the
1970’s originated and circulated by the American Federation of Arts,
Accompanied by a scholarly catalogue.
THE FLUTE AND THE BRUSH February 26 - April 10, 1977
30 Indian Miniature V/atercolor Paintings, loaned from the collection of
V/illiam Broim & Paul V/onner. Accompanied by a scholarly catalogue.
- 12 -
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TEMPOEAEY EXHIBITIONS
Achenbacli Foimdation for Graphic Arts (Continued)
TrIE ESMAEK COLLECTION OF CURRIER 8c IVES COLOR PRINTS April 30 - June 12, 1977
123 Color Lithographs of important Currier & Ives prints from the circulating
Esmark collection,
THE BARBIZON TRADITION May 27 - September, 1977
42 Prints and Drawings illustrating the work of the Barbizon School artists
and their subsequent influence on the Impressionist and other French artists.
FRENCH l8th CENTURY DRAWINGS, from the Museum*s Permanent Collections
May 27 - September, 1977
38 French Drawings of the l8th Century, selected from the permanent collections,
ARTIST PORTRAITS 8c SELF-PORTPJVITS , PART II June 25 - August l4, 1977
76 Prints illustrating how artists have seen themselves and others from the
sixteenth century to the present. All prints are from the permanent collection.
SANDPOIA HU - MONOTYPES June 25 - August l4, 1977
35 recent full color Monotypes by a young San Francisco artist.
1976 - 1977 FISCilL YEAR TOTALS; 15 Exhibitions comprising
1094 objects of art.
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PABITING CONSERVATION LABORATORY
Most the past year was spent in conserving the suddenly-expanded list of
Araerican paintings in preparation for the de Yonng Museurii’s new American wing,
and although the restoration of paintings is not finished, 2^ worl<s given
rnajor treatment "by me have been installed, Hiese paintings include those
painted by the Peales, West, Doughty, Trunibull, Morse, Ihness, Stuart, Morton,
Ifeihn, Nahl and Decker,
All paintings considered for acquisition were examined, many in detailed tech-
nical analyses with reports of my findings to the Acquisition Committee,
Some of these were;
1, CcEanne Rocics in the Park of the Cliateau Noir
2, Watteau La Partie Quarr^
Chasseriau TVjo Portraits
i;* Vignon St, ?erone an His Studio
Bazille PortrarE'
6, If'Jhistler Seas cape
Technical analyses were also done for the publication of the French Paintings
Catalog, Scholarly research of the Rose Jfegnin gift. Portrait of a Musician
by the Ifester of ELertialle, oil on wood panel, was begun^ The Fragonard,
Daubigny, Greuze, Riter and Schongauer (gifts which arrived in 1975 from the
sarae donor) have nearly been restored to their brilliant original state.
The condition of every painting in a traveling ^chibition or part of a loan,
such as the Rockefeller collection in the American Galleries, is thoroughly
checked out| riiany of then must be given some type of treati.ient to insure
their safety Triiile in our museums* The inspection and reframing of every
painting in our permanent collections was resumed for a fexr days only because
help for this inportant work has been only sporadic.
At the Western Association of Art Conservators Meeting in San Diego, I presenter'
a slide lecture on the treatment of a severely deteriorated x7ood panel painting c
Since riy eraployraent in 1970, I have been doing all the work iiui-LJaDly c>?xn-ied on
by a staff of three conservators in other museums, I have continued to rini-
mlly care for our own paintings, doing all the examinations, restorations,
docurrentation, traveling exhibitions, anal3rtical work, repairing daraages, etc.
In order to continue these services and to continue caring for the paintings
in a professional manner, I again, stress the operative need for enlarging the
painting conservation staff.
Teri Oilarwa-Picante
Painting Conservator
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REXSISTRAR’S REPORT - M, H. DE YOUNG MM^IORIAL MUSEUM
During the 1976-1977 period the Registrar continued to receipt, number,
catalogue, insure safe handling of and return of all incoming/outgoing gifts
and extended loans to the permanent collection; arrange for the pick-up,
receipt, safe keeping and return of temporary exhibitions; be responsible
for all storage facilities; supervise the receiving, unpacking, crating and
shipping of all art objects; maintain the photography records and arrange for
special reproduction orders; supervise the museum vehicle and its scheduling;
and keep in order the accession, loan, research, archival, exhibition and nine
other file systems.
In addition, the Registrar personally prepared the monthly insurance reports;
handled damage and loan claims; conducted tours of his department and museivn
facilities; made records available to scholars, students, representatives from
other institutions and qualified individuals; answered written inquiries per-
tinent to the museum* s collections and history and was available, in the
absence of curators, to answer telephone inquiries of a curatorial nature;
continued to accompany the transport of art objects of more than nominal value;
and supervised, when needed, the placement and movement of art items through
the museum.
Much of the accelerated activity which made the previous year so atypical
diminished or was absorbed into the general routine during this period. The
items which had been so laboriously processed for de-accessioning were boxed
and stored for future final dissolution, and as the fiscal year came to a
close the new basement storage areas were starting to be occupied by the
contents of the old areas destined to be the new conservation laboratories.
In addition to the six display galleries closed the previous year it was
necessary to close four more (plus tv;o on a temporary basis) to accommodate
all the collection objects and exhibition material v;hich would normally be
on display or in storage areas. Still atypical, however, was the necessity
to relocate the Registrar's Office and all the museum's own archival mateid.al
to make way for the offices of the Archives of American Art,
Aside from regular routine, servicing temporary exhibitions and office moving,
the last half of the period's time was devoted to preparations for the opening
of the new American galleries. Paintings and sculpture were transferred from
the Legion of Honor and assembled with those from the de Yoiuig collection in
two specially prepared galleries. Also, at the direction of the visiting
curator, arrangements were made for the securing of sixty- two items from
some twenty lenders all over the country.
The period closed with active preparations being made for the formidable tasks
of completing the new basement area and converting once again to public use the
ten galleries and halls now being used for storage and work areas.
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REGISTRAR - LEGION OF HONOR
As custodian and ’librarian of all art objects’ the Registrar works ;d.th
most of the staff as a hub of art object activity, and also cooperates v/ith
’outside’ art freight forwarders, customs and insurance brokers, photog-
raphers, and visiting art scholars, students and art couriers. V/e are in
charge of the safe care and logistics of all art movement, and the insurance
and documentation of all art objects owned and borrov/ed, past and present,
by the Museum whose records we keep.
This year the Registrar was primarily occupied \d.th processing temporary
exhibitions of loaned art objects, such as large tapestries, 460 toys from
32 lenders to the "A is for Animal” Art School exhibition, 105 works by Jean
Baptiste Greuze, from both American & international lenders, 268 American
Vi/atercolors & Drawings, and 85 examples of hand-lettering imported for ex-
hibition from the German calligrapher Friedrich Neugebauer.
In addition, 34 shipments of objects considered for possible acquisition
were sent in and out of the Museum, as were 37 of our o\-jn collection ob-
jects which journeyed to and from outside exhibitions at other museums.
Our French 19th century collection was moved up and dovm several times
alternating v;ith temporary exhibitions in the same galleries.
Permanent collection records were slowly improved when the Registrar had time
to encoiirage and supervise periodic volunteer assistance. A major project
was the gathering together of all "historic” files, periodicals & scrapbooks
into a newly lighted and painted Archives Room for art records from 1924-
1968.
Interns also assisting v/ith individual files for newly accessioned objects
were; undergraduates Ann Pearson and Jennifer Church of Mills College, and
Mary Thompson of Lone Mountain, and graduate student Paula March of Lone
Mountain College Museum Studies Program; Hanna Regev worked for many months
on the 79 objects in the Helene Irvd.n Fagan Collection. Other volunteers
were high school student Suzanne Green, art history student Madeleine Gunther
who accessioned and marked the jades collection, art historian Maria Luise
Huntington who researched French paintings, and Pauline Jacobsen who began
a long-term project to compile centralized past exhibition card records by
documenting every shov; from 1947 through 1958.
The Legion Registrar’s office has been a one-person operation and therefore
it has been difficult to simultaneously keep tip \d.th the processing of tem-
porary loan exhibitions AND the creation and maintenance of thorough col-
lection object records. The separate location of both the museum library
and theand the Curatorial staff at the other building has meant that time
must be devoted to staff communication memoranda and that curatorial assist-
ance with art object records is not steadily available. Telephone and
visitors inqviiries of a curatorial nature are often answered by the Registrar
v/hen Curators are not on the premises, and art object receiving is done i/hen
the Miiseum Packer is at the other building.
Some staff assistance was provided this year by Linda Holden, v/ho worked on
object photograph files maintenance & customer order collating & invoicing,
by Rockefeller Fellow Philip Hart, who registered & thoroughly described the
entire Neugebauer Calligraphy shipment, and by Art School staff members v/ho
provided the majority of the transportation and documentation of the Toys
exhibition. At the end of Fiscal Year 76-77 the Registrars v/ere looking
forward to receiving much-needed help from a new parttime Assistant Registrar
to be funded by the Museum Society to work vri.th both the de Young and Legion
of Honor offices.
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MUSEUM LIBRAEX
♦
#
Libraiy services and security of materials uere greatly ir, proved by the
remodeling project of 1976-77* The iiiaseum now has a reading room, a
separate stack area, a small reference section and an office for the
librarian*
Use of the libraiy
Because of the disruptions of the remodeling process, and because of the
continued severe library sta^ff shortage (1 librarian to serve the staffs
of the two museums), libraiy use was limited to museum staff members only.
It is hoped tliat with an increase in libraiy staff next year we xirill be able
to serve the public, at least to a liiaited degree.
Books added to the
collection
by purcliase
287
as gifts or
by excliange
390
Total
677
Periodicals
^0 titles are currently being received,
Libraiy exchange program
Three catalogues xjere sent to each of 107 libraries and museums in the United
States and abroad in 1976, a total of 321 voliimes. Catalogues sent were;
Ar,ierican Art; Lie Rockefeller Collection, Three Centuries of French Art,
Yol, II (The Norton SLiion Collection), and Araerica Observed,
The exdiange program was greatly helped in all phases by the devoted volunteer
assistance of Luise Bates,
Jane Nelson
Librarian
- 17 -
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EDUCATION DIVISION
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As one of the tliree iiiajor divisions id.thin the Museums, the Education Division
is responsible for the use of tlie pen.ianent and tenporaiy collections to teach
the public about the histoiy of art and culture, the appreciation of art, the
riiaicing of art and the interrelationships between different forms of art. To
this end the division has several depaitr.ients wliich specialize in canying aut
aspects of this responsibility* Each of the departments (Program, Art School,
Docents and Volunteers) presents a separate report detailing its activities
iranediately following this report.
The activities of office have been broadened tliis year as the overall pro-
graiiTS -^f the Museur.is have continued to expand. Hie primaiy areas of activity
have been in overall museum planningj long range developmentj reoiganization
af the Education division^ special educational programs for exliibitions; and
Intern and volunteer training.
As a special project, this office lias had a centml role in the planning of
the new American Wing and galleries just completed, as well as in the planning
and supervision of the various departmental and operational moves which were
necessitated by the renovation project at the de Young. This includes the
planning and move of the entire Museum »s art storage of several hundred
thousand objects into the new storage| the return of the Art School into
its newly renovated facility^ the restructuring of the shop and service spaces;
and the movement of offices and personnel.
Another major area of involvement has been in the restructuring of the
relationship between the Education Division and the rest of the Museur.TS —
particularly the Department of Ebdiibitions, since many of the education
prograjiis involve themselves with exliibitions , To that end we have worked
through tlie City budgetary process to restructure the functions of my office
to include the Department of ExMbitions. Hois was approved as part of our
budget and is effective July 1, 1977«
Because of the size and scope of the renovation project at the de Young, the
exliibitions and education programs were somewhat curtailed althougH there were
several programs of note. We produced extensive label materials for our new
gallery of Classical Art, placing the objects witliin their cultural context.
In a sirdlar manner we rewrote the contextural labels for our perr.ianent French
collections.
In the area of teimporary exhibitions, we produced an audio-visual program as
part of the exhibition of San Franciscans architectural history. As We VJere,
As We A27e. We also had a large film and lecture program for tliis exliibit.
For the exliibition Five Centuries of Tapestries we produced an audio-visual
program and extensive expianatoiy labels whidi will circulate xith the ex-
liibition to other museums. We held a 3-day symposium of international scholars
on tapestries, and during the exhibition itself we had weaving, spinning and
dying deiuonstrations in the galleries as well as trained docents who explained
the exhibition to the visitors. For two visiting exhibitions, Jean-!^ptiste
Greuze and American 1-fe.ster Dramngs and Watercolors, we rewrote the accompany-
3ng Ta'bels, produced a ‘brn'cliur'e and Had a series of lectures.
- 18 -
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EDUCATION DIVISION (Continued)
For the exliibition Masterpieces of Primitive Art^ we developed an orientation
area designed to acquaint the visitor iiith the art historical concepts used
to determine a msterpiece. Within the exliibition we provided an audio visual
prograra and, at the end of the exhibition, a Game Room which Imd several
programmed learning situations using computers and other teaching formats.
We also produced a bmchure and several handouts for the esdiibition. Finally,
we distributed an extensive questionnaire to visitors to detem'iiine wliich amas
were successful and wliich were not. In association with tliis exhibition, we
collaborated with University of California Extension on a symposium on prir.iitive
art and the pleasures and perils of collecting.
The last major area of involvement lias been the training in museum practices
of interns from various universities firom around the country, Tlie training
of volunteers (docents and other volunteers) continued, and we have worked
out a number of organizational probleiTis which had existed between the various
volunteer groups and the Museums,
The challenges reriiain to broaden our prograriiming efforts so that we are able
to reach a larger public with stimulating, high-quality programs wliich focus
as closely as possible on the peiiiianent and temporary collections of the
MuseuTiTS,
Thomas K, Seligman
Assistant Director
Education Division
- 19 -
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DEPARTI-ISNT OF PUBLIC PROGRMS
In the past year the Department of Public Programs has devoted much of its
energies to exploring new avenues to programming, attempting on the one hand
to develop projects which would closely support and enhance the Museums’
exhibition program, while on the other hand seeking out new emd untried
projects in the performing arts* At the same time, the number of programs
offered to the public has been maintained at the same level as the previous
yetyr. Several projects stand out as exceptional or unusual and will be
discussed individually.
Continued Successes
Organ concerts by staff organists Ludwig Altman and Newton Pashley continue
to draw large and appreciative crowds at the Legion of Honor, This year, as
in the past, both organists continued to perform every Saturday and Sunday
afternoon and offered several programs enhanced by the participation of guest
artists; choirs, vocal and instrumental soloists. Their program selections
also reflected a particular effort this year to support the exhibition
activities of the Museums.
The Tvri-light Concerts series by the San Francisco Chamber Orchestra (Edgar J •
Braun, Music Director) witnessed yet another season of overflow and capacity
audiences. The previous year’s move from the de Yoimg to the Legion of Honor
has resvilted in the Little Theater becoming the permanent home of these popular
and critically successful events.
Bay Area Playwrights Festival
In October and November of 1976 the Program Office presented the first Bay Area
Playwrights Festival in the Little Theater. The result of some 300 scripts
submitted the previous year for a new one-act drama project, the Festival
presented the world premieres of seven works by six regional authors in a six-
week r-un. Artistic Director Robert V/oodruff personally directed a highly
acclaimed production of a musical by Obie award winning author Sam Shepard
entitled The Sad Lament of Pecos Bill, Other works presented in the Festival
included The String Gatherer by Frederick Karl Van Patten, The Parasites by
Ebbe Roe Smith, The Clown by V/ayne Pease, The Meter Beggar and The Parking
Meter by Joel Witkin, and Passing Shots by screen writer Stephen Yafa, The
Festival received overwhelming support of the press and the Bay Area theater
community and is planned again for 1977-78,
Toward Better Support of Exhibitions
This year three major exhibitions were the motivation for special and/or
unusual programming efforts by this office. The photographic exhibition on
the City entitled As We V/ere, As We Are was complemented by two series of
public programs. The first was a program of 12 lectures, forums and panel
discussions by prominent Bay Area political, historical and civic figures on
a variety of current and historical issues important in the City today. The
second was a twelve week series of feature-length movies filmed in or about
San Francisco between 1923 and 1975 • Both programs were developed in the
Program Office with the assistance of Nancy Van Norman and Margo V/arnecke,
I
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DEPARTflENT OF PUBLIC PROGPj^MS (Continued)
For the exhibition Five Centuries of Tapestry, a series of performing arts
programs was developed to parallel the exhibition and support its various
themes. The programs opened on the e^diibition’s first day with four perform-
ances by the excellent Medieval music ensemble Amici Musicae, and concluded
with a conceirt of Baroque music for flute and harpsichord. One of the high
points of the series was a set of eight performances by the San Francisco
Actors Ensemble of a Medieval mystery play, enhancing the portion of the
exhibition dealing with the mystery play and providing an excellent enter-
tainment for the holiday season as well*, In conjunction with the exliibition
Master-pieces of Primitive Art, the Program Office developed a series of 20
films shovm on 10 consecutive Sunday afternoons, dealing vn.th the arts and
anthropology of the cultures whose works were represented in the exhibition.
For Children
As a result of an inquiry from the Bay Area office of Yoxmg Audiences Inc,,
a national organization dedicated to the development of londerstanding and
appreciation of performing arts in young people, the Program Office offered
a series of l6 Saturday afternoon performiances for children by a variety of
Young Audiences’ performing ensembles. The programs ranged from classical
music concerts to eastern European Folk dancing, and it was intended that
the presence of these programs in an art museum would provide an especially
rich environment for the children in the audience. The newly-formed San
Francisco Attic Theater presented a series of eight performances of three
plays on Saturday mornings at the Legion of Honor. San Francisco Attic
Theater is dedicated to presenting fine quality theater for children, per-
formed by children, V/e are presently negotiating with them for programs in
1977-78.
Reaching Out
In cooperation with the San Francisco Park and Recreation Department and
the San Francisco Guitar Society, a series of four concerts of guitar music
was presented in the Little Thea-ter during the winter season. All four
concerts saw capacity audiences and a new series if being discussed for
1977-78, In addition, through a co-sponsorship arrangement between the
Museum.s and several outside organizations, a number of other performing arts
events was made available to the Museums* membership and to the public.
These included the excellently received premiere performances by the new
San Francisco Opera Piccola, a concert by the Reno (Nevada) Chamber Orchestra,
an avant-garde theater piece from Los Angeles entitled Ethiopia, a -violin
recital by San Francisco Symphony violinist Bruce Freifeld, a series of
eleven performances by the v/idely acclaimed Sufi choir of Fairfax, and a
fine recital by bass-baritone Vahan Toolajian,
- 21 -
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DEPAROIENT OF PUBLIC PROGRAMS (Continued)
Miscellaneous
In addition, the Program Office presented two lectures by Donelson Hoopes
and George Hopper Fitch in conjunction with the exhibition of American
Drawings and Water colors, a lecture by Edgar Munhall in conjunction with
the Jean-Bap tiste Greuze exhibition, and a series of four showcase concerts
by outstanding student musicians of the Bay Area, Receptions and/or dinner
parties by a dozen outside organizations in the Museums were arranged and
coordinated through the Program Office, and the Office assisted in the
arrangements for and coordination of over 25 Museum Society and Museum-
sponsored receptions, dinners, previews and luncheons.
Charles Mills continued his involvement with the Volunteer Council, assist-
ing in this year’s training for new volunteers as v/ell as revising the
volunteer handbook for a second edition, Bruce Merley led the Program
Office coordination of transportation for the 1977 meeting of the Association
of Art Museum Directors (AAMD) in the Bay Area, and assisted in the arrange-
ments for a two day seminar by UC Extension in conjunction with the exhibition
Masterpieces of Primitive Art, and a two day International Tapestry Symposium
at the Legion of Honor, Opening day celebrations were presented by the Pro-
gram Office for the exhibitions As We Were, As We Are and Masterpieces of
Primitive Art,
Personnel
James Baldocchi, an experienced theater technician, assumed the part-time
position as theater manager/projectionist for the Museums, Nancy Van Norman
worked in the Program Office, first as an intern from Lone Mountain College,
later as an assistant on the programs for As ¥e Were, As VJe Are and on the
A.A.M.D. meeting. Their contributions during the past year are gratefully
acknowledged.
Facilities
More clearly than ever, this year demonstrated that the Little Theater at the
Legion of Honor is in desparate need of renovation. Program after program,
we were faced with the inadequacies of the lighting and sound systems. The
old and largely poor quality curtains are literally disintegrating in front
of our eyes. The recently refinished stage floor is now so thin (from count-
less refinishings) that a particleboard superfloor originally intended to be
temporary is now a permanent fixture. The carpeting is woefully beyond more
cleaning; the house desperately needs repainting; the seating is nearly col-
lapsing under our audiences. Clearly, it is doubtful that the Little Theater
can endure another season of this level of programming in its present condition.
- 22 -
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Summary
Programs presented in whole or in part through the Program Office, l^d.th
attendance figures, are as follows;
Number of
Programs Type of Program Attendance
62 Exhibition Eelated Programs 9982
(lecture, film and performance)
25 Childrens* Programs 2816
19 Bay Area Playwrights Festival 2115
5 Twilight Concerts 2521
104 Organ Concerts 10^00
7 Other Museum Sponsored Performing 5172
Arts Programs
22 Performing Arts Programs Presented 5500
in Cooperation with Outside Organizations
25 Museum Receptions, Dinners, Previews, etc,
involving Program Office assistance
12 Receptions and Dinners by Outside
Organizations
281 TOTAL 38506
For a more complete listing of the 1976-77 activities of the Department
of Public Programs, see Appendix
Bruce Merley
Charles Mills
Assistant Curators
Department of Public Programs
- 23 -
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*
THE DE YOUNG MUSEUI4 ANT SCHOOL
The de Young Museum Art School operates as a non-profit educational
institution under the auspices of Hie Fine Arts Museums of San Francisco.
Two city employees v/ork in this department with the additional services
provided by eighteen CETA employees. During the fiscal year 1976 to 1977 t
The Art School operated children’s art classes at The San Francisco Zoo
and the de Young Museum. Adult classes operated at the Dovmtown Center
at 651 Howard Street.
Studio art classes are offered to the public at a nominal fee im.thout
pre-requisites and reqiiirements for enrollment. Four semesters of twelve
weeks each offered sixty to eighty classes each semester, with a total
student participation of over 3»000 students.
The Art School operates two mobile units, The Trip-out Trucks, v/hich
provide free studio art classes for the public schools and for community
locations.
Trip-out Trucks 1976-77
Program: School Year
2 trucks 3 days a \i?eek| 3 visits to each school
Program; Summer
2 trucks 2 days a week, 42 community visits
4 city festivals, 67 schools
1 class, 4 visits each
14.816 school students
8,000 community residents
22.816 total for year
A special summer project with teenagers was conducted at The Downto^m Center
and the Exploratorium, Ten students worked as assistant artists, gallery
attendants, helpers on the Trip~out Trucks and participated in a curriculum
designed to train them for a vocation in the arts. This \vas supported by the
National Endowment for the Arts; Expansion Arts and the Neighborhood Youth
Corps ^
Video and Film Production
The Art School has brought its semd-ces to a v/ider community by producing
video tapes and films about studio art processes.
During the fiscal year the following programs were produced;
- "Save Me; The Making of a Lithograph.’’ Designed to complement an exhibit at
the Downtown Center, this 15-minute videotape documents the process of
creating a lithograph from drawing on the stone to printing an edition.
- 24 -
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THE DE YOUNG MSETO4 ART SCPIOOL (Continued)
- ’’Four Years Later: Rockefeller Fellowsliips in Museum Education,"
Made possible by grants from the National Endownent for the Arts and
The Rockefeller Foundation, this videotape explores the education programs,
aspirations and frustrations of museum professionals v/ho participated in
the Rockefeller Training Program in Museum Education and Community Studies.
- "Ooze-Vi/ho, " an animated film, explains how a lump of clay becomes a
utilitarian object,
Tv/o additional videotapes are nearj.ng completion: one about paper conserv-
ation, the other on hov/ to use video in a small museum. These tapes are
intended for arts organizations and small musexmis. The project is funded
by an NEA grant.
The Film and Video Department has also produced a variety of education com-
ponents for exhibits at The Downtovm Center. These include a slide show
about Hollywood movies, a circus soundtrack and a video collage of 1950’ s
television programs. Ceramic demonstrations have been videotaped and are
available for vie\d.ng by Art School students. Video workshops are held for
students as well as staff members and interns,
Downtov/n Art Center - 65I Hov/ard Street
The major efforts of the Art School staff during this fiscal year have gone
into establishing an exhibition program id.th educational services in the
domtown business community. An estimated 89,000 persons have used the
facility during this fiscal year, visiting the following exhibitions or
participating in the supportive services:
July - August: The Foot Show
An exhibit of painting, photographs, prints and artifacts associated
v/ith the foot. Free lectures and demonstrations included: building a
shoe, free foot examination, a performance by a Foot Stamping Band,
a tap dancer and films,
August - September: The Eyes Have It
An exhibit about photography including antique cameras and v/orks by
local artists. Demonstrations and lectures included: hand tinting of
photos, photograras, pin-hole cameras, rubber stamps and printing process
without darkroom,
September - October: Artist’s Proof/^lultiple Image
An exhibit about printmaking, V/orks of old masters and local artists
dealing with the process of lithography, etching, and serigraphy.
Lectures on the history and collecting of prints. Demonstrations
included etching and lithography, screen prints, mono-prints, embossed
prints, 3-dimensional printmaking, care and handling of prints, matting
and framing.
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THE DE YOUNG iroSEUM AET SCHOOL (Continued)
November - December: Tne Greatest Little Show on Earth
An exhibition of antique toys and circus posters based on circus
themes. There were toy workshops given by Art School instructors.
At this time a second exhibit of antique toys, "A is for Animal”,
was organized at the Legion of Honor,
January - February: Ceram-a-rama
An exhibition of ceramic work by local Bay Area artists.
March - April: V/all to V/all Paper
An exhibition of art v/ork on or with paper by contemporary Bay Area
artists. Demonstrations included: paper sculpture, paper making
and kite making,
April - May - June: The Moving Picture Show
An exhibit that e^cplored the relationship between the moving image
and its influence on society. Demonstrations included animation
films, holography and laser demonstrations.
Museum Training Program
In February of 1977 seven persons were recruited from the Western United
States to participate in a museum training program emphasizing museum
education. This project is in its fourth year and is funded by the Rocke-
feller Foundation and the National Endowment for the Arts, Training fellov;-
ships l^^ere awarded to persons from Davis; San Jose; Los Angeles; San Fran-
cisco Bay Area; Fairbanks, Alaska; Honolulu; Reno; and Phoenix. The training
consists of seminars conducted by museum professionals coupled vi-th actual
work exp)erience at The Downtown Center, Fellows use their skills as educators
and curator^ to develop exhibitions and programs for a city audience.
- 26 -
♦
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DOCEHT comrciL
#
The purpose of the Docent Council^ a volunteer organization, is to provide
tirained docents to give tours of the Museur.is ’ collections and special ex-
hibitions through prograns developed in cooperation I'lith the Education
Departmnts of the Asian Art Museum and The Fine Arts Museums of San Fran-
cis co« The supporting organization for the Docent Council is The l^useui.!
Society, The veiy successful Deaf Program was sponsored this year by a
grant from the San Francisco Foundation, Ihe Docent Council strives to
present the best possible Museum experience for the visitor through pro-
grams daiipisd for ad'iiLtS5 school diildren and special groups including
senior citizens, the deaf and the liandicapped. Docents also provide
additional special services such as research, conservation projects and
work in the library, slide library and Registrar’s office of The Fine Arts
l^useums.
This year advanced training sessions on the permanent collections xmxe held
for all AOA, Asian and Western Art Docents in the form of lectures^ technic^e,
tour planning and evaluation sessions were continually held for those Docents
participating in the school and deaf prograraa. Docents were also trained for
the six special exhibitions presented by the Museums this year:
A Decade of Collecting
Cliinese Follcarb
Five Centuries of Tapestry
American Ifester Drawings and
Waterc'olors
Jean-Baptiste Greuze / 1725-180^
^sterpieces of Primitive Art
Asian Art Miseum
Asian Art l&seum
Tlie Fine Arts I^seums
The Fine Arts Museums
The Fine Arts Museums
The Fine Arts Museums
The school program has been very active this year providing two to three
programs for school oLasses per ireek each in the Asian, Western and AOA
collections. Special worlcshops for teachers were planned and presented
by each area to introduce school teachers to the Museums ’ programs and to
help thera integrate the Musemi visit into their planned classroom curricilum.
The Docents for the Deaf have developed an enriching school program including
in-school preparation and use of art materials in presenting carefully planned
tours for deaf children tliroughout tlie Museums,
General tours of the collections have continued on a daily schedule: three
in the Asian Art Museum, two in the Western collections and one in the AOA
Galleiy, Additionally daily tours were provided for the six special exhibitions
mentioned above. Monthly adult general tours focusing on particular aspects of
the colLectiona were given for the deaf community. The Docent Council also
provides tours by appointment for special groups including visitors to the Bay
Area, college classes, senior citizens and others. This, year tiro special series
were prepared and presented by Docents for a particular group.
- 27 -
s
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DOCENT COUNCIL (Continued)
The most iriiporbant job of the Docent Council administration this year has
been to bring the Docent Council frora its independent role in the Museums^
to one closely tied to the Education Departments of the Asian Art Mirseura
and The Fine Arts Miseums. The volunteer Docents are providing an important
and unique part in the interpretation of the collections to the public*
New l^laij® and Standing Rules were developed to specify clearly the role of
the Docent Council in the Museums*
The Docent Council looks fortfard to e:xpanding its programs and continuing
its high goal of excellence in service to the Museums and the visiting public#
Many thanlcs go to the Docent Council, its Board of Directors and the staff of
the Museuri® for our successful programs this year#
Mrs# J# Alec Merriara
Chairman
Docent Council of the Asian Art
Museur.i and ilie Fine Arts Museums
of San Francisco
Docent Council Tours
Tours p:iven
Visitors
Asian Art Museum
General
School
1125
289
14170
The Fine Arts Museums
Western Collections
General
School
1^90
142
25622
2506
AOA Gallery
General
School
507
129
5114
2289
Deaf Program: Asian Art Museum and The Fine Arts Museums
General
Special
School
3
16
292
152
513
♦
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DEPARTMENT OF INTERPRETATION
The Department of Interpretation is concerned with helping to make the
museum experience enjoyable, educational, and comprehensible. To this
end, the department v;orks with other members of the staff in order to
produce the material and tours used to supplement both the permanent
collection and the temporary exhibitions. A partial listing of the
interpretive aspects in a museum includes: orientation areas, labels,
catalogues, brochures, hand-outs, guides, audio-visual shoivs, and docent,
acoustical, and self-guided tours.
Since I arrived in mid-February, I have been involved in the development
and production of the interpretive material for most of the exhibitions
held in the museums. This includes working v/ith the docents on their
programs, training, recruiting, and tour techniques. In addition, I have
prepared a new Gallery Guide to assist the visitor tlirough the galleries
and answer pertinent questions.
In the coming year, in addition to our on-going work, major efforts will
be made to add nev/ interpretive labelling to our permanent collection.
This will be accomplished with the assistance of several volunteers.
We will also work tov/ards expanding our facilities for the handicapped
and disadvantaged and enlarging the nTimber of docent-guided school tours
and programs.
Renee Beller Dreyfus
Assistant Curator for
Education and Interpretation
♦
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DEPAEMM OF INTEKPESTATION - Western School Program
The Western (European and American) School Progran comprises twenty-five
Docents including ten new graduates, supervised by a Museum Teaching
Assistant, The program is based on the premise that the museum setting
provides an environment which offers a great variety of learning experiences.
Knowledge of the visual arts is emphasized. Students learn to identify the
elements of art and they discover the meaning of artistic expression in the
CLiltures in which the objects were created. In addition to gaining sldLlls
in these areas, students are encouraged to express their aesthetic feelings
and opinions about a work of art and to share those feelings with their
peers. This experience sets a pattern for museum-going that is both natural
and personally satisfying.
In order to staff this program, a rigorous training is offered by the
Museum Teaching Assistant in charge in conjunction with outside lecturers.
The Teaching Assistant offers a v/ide variety of teaching techniques to be
used in the galleries and there is ample opportunity for each of the trainees
to utilize the techniques v/ith a variety of learning objectives, VJhen the
training is completed the Docent feels able to handle any student from
grades 1 through 12, Constant evaluation and supervision is offered.
The program endeavors to work closely with teachers, the School District and
other museums providing an expanded learning situation for the students,
leaving behind the traditional field trip conception of a museum visit,
Barbara Fields
- 30 -
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I
I
DEPARTMENT OF INTERPRETATION - A.O.A, School Program
The A.O.A, School Program consists of parti ciioatory gallery experiences
offered several mornings a week for classes (grades 2-12) and workshops
for teachers. The Program is staffed by approximately twenty- five Docents
(including eighteen trainees who begin training in September 1977) and the
Museum Teaching Assistant, Hie Docents are responsible for the planning
and giving of tours; the Museum Teaching Assistant supervises the overall
Program, schedules the tours, and assists the Docents in planning and
evaluation of the gallery experiences. The Teacliing Assistant acts as a
resource for method and content and contributes to the training of Docents
to focus on the development of skills necessary to guide the students in
visual and cultural av/areness. In addition, the To iching Assistant maintains
a working relationship \d.th teachers and resource persons in the San Fran-
cisco Unified School District, through the planning of teacher v\;orkshops.
The A,0,A, School Program operates V7ith a keen sense of responsibility to
the students and teachers of the San Francisco Unified School District and
their needs. The nature of the museum learning environi'nent and the A,0,A,
material directs our efforts: to guide the students to visually experience
and respond to the art, to eqTiip the students to "read" the objects' cultural
meaning in order to expand their own world view, and to foster a respect for
the cultures of the A,0,A, peoples in students of V/estern as well as non-
Wes tern background.
Of counse, the most basic objective of the Program is to make each student
feel welcome, to find pleasure as he/she learns in the museum, Tlie attain-
ment of this objective is well evidenced by the increasing demand to par-
ticipate in our Program,
Morgan KinLla
- 31 -
-. ; '..■ o''?'- -'O:" ;
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A. 0. A,
, GALLERIES
APPENDi:
Q
1
TOUPuS
Tours
Guests
July 1,
1976 to Sept. 30, 1976
99
1,017
Oct. 1,
1976 to Dec. 31, 1976
9k
663
Jan. 1,
1977 to Mar. 31, 1977
100
779
April 1,
, 1977 to June 30, 1977
97
1,021
Totals
390
3, ^1-80
MASTERPIECE INTRODUCTORY TOURS
March, 1977
19
216
April 1 to June 30, 1977
113
1,844
13^
2,060
All Tour Totals
524
5,54o
- 32 -
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PUBLICATIONS DEPARTIffiNT
The Publications Department, funded by The Museum Society, is responsible for
all aspects of the Museums’ publishing program from completion of final
manuscript through bound book, ensuring timely, high-quality, minimal-budget
exhibition and permanent collection catalogxies. As head of this Department,
the Publications Manager may also coordinate the efforts of authors and editors
in final preparation of the manuscript, develop book formats and parameters,
and help prepare finding applications and author contracts.
After obtaining bids in all areas of book production, the Manager awards con-
tracts and coordinates the work of copyeditors, designers, typesetters and
printers. He also supervises such details of production as permission requests,
photography, copyrights and captions, Tlie Manager arranges for the marketing,
distribution and co-publishing of museum-produced publications.
Besides being responsible for routine management of the Department and prepar-
ation of its budgets, the Publications Manager reports to various trade
publications, monitors book inventories, develops pricing and inventory
strategies, considers legal aspects of museum publications, evaluates bills
for payment, and provides publishing advice to staff and otitside parties.
He also works on various studies and projects: permissions policy, royalty
policy, membership benefits, calendar evaluations, postcards, the Annual Report
and the like.
Projects Completed
Exhibition Catalogues:
AMERICA OBSERVED: EDV/ARD HOPPER AND V/ALKER EVANS (September 1976)
AS V/E IffiRE, AS WE ARE (October 1976)
FIVE CENTURIES OF TAPESTRY IN THE FINE ARTS MUSEUMS OF SAN FRANCISCO
(November 1976)
Projects in Progress
Exhibition Catalogues:
THE TRIWIPH OF HUMANISM (October 1977)
ACTS OF THE TAPESTRY SYMPOSIUM— Post-exhibition (January 1978)
Permanent Collection Catalogues:
FOUR CENTURIES OF FRENCH DRAWINGS IN THE FINE ARTS MUSEUMS OF
SAN FRANCISCO (September 1977)
RODIN’S SCULPTURE: A CRITICAL STUDY OF THE SPPuECKELS COLLECTION
(September 1977)
A TRIBUTE TO V/ALTER HEIL (November 1977)
Future Projects
Exhibition Catalogue:
ART OF THE HUICHOL (October 1978)
Permanent Collection Catalogues:
FLEMISH PAINTINGS IN THE FINE ARTS MUSEUI4S OF SAN FRANCISCO (June 1978)
FRENCH PAINTINGS IN THE FINS ARTS MUSEUMS OF SAN FRANCISCO (January 1979)
Currently the Publications Manager works three days a week and coordinates the
efforts of four part-time volunteers; regular, professional support services are
badly needed.
- 33 -
Edward T, Engle, Jr,
Publications Manager
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VOLUNTEER COUNCIL
A group of 266 active volunteers donated their time to special exhibits
held in The Fine Arts Museums. They acted as Merabersliip/lnformation
specialists, sold tickets at the entrance to exliibits and assisted in
Museum bookshops. In the past year they took on the added responsibility
of distributing posters before major shows.
Total hoiirs contributed per exhibition are as follows:
The Tapestry Exhibition at the Legion of Honor over 2,260 volunteer hours
Greuze & The American Master Drawing Sixhibition over 2,050 volunteer hours
Masterpieces of Primitive Art, de Young Museum over 2,010 volunteer hours
total of over 6,320 volunteer hours.
Training and Orientation Sessions were completed by 53 volunteers. The
sessions were held at the de Young and Legion of Honor Museums over a three-day
period. After a welcome by Director Ian VJhite and President of the Board,
Walter Newman, the group broke off into v/orkshop teams and studied volunteer
procedures under the direction of the Volunteer Co-ordinator,
Office assistant volunteers performed a variety of tasks ranging from typing
to envelope stuffing in the offices of the Director, Exhibition & Conservation,
the Library, Public Relations, Publications, The Museum Society, and the
Program Office, The group also assisted in distribution of mtiseum surveys
conducted over the past year.
Ola Kupka
Volunteer Coordinator
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ADMIMISTRATIOM DI^/ISION
As one of the three major divisions \ri.thin the Museiiras, the Administrative
Division is responsible for the preparation and administration of the City
budget, personnel, maintenance, security of the buildings and collections,
development of ne^^r sources of funding, and generally for the coordination
of activities within the Museums’ three major divisions. This past year I
have been responsible for the planning, administration and coordination of
the complex de Yoimg renovation project, an exciting project which will serve
many needs of the Museums,
Security
The security staff is responsible for the safety of art objects, visitors
and the two buildings (including the Asiaiji. Art Museum), Our guard force
was supplemented by an average of 11 CETa"’' personnel. Considering the
high attendance and low average number of guards per gallery, theft or
major damage was minimal. If it were not for the extensive renovation
being conducted at the de Young Museum, causing us to close large areas
of the museum, we might have had to close sections of the museum to the
public so that other areas could be more adequately secured.
As a way of minimizing the threat of vandalism, reflectionless glass has
been installed in a large number of paintings. The Denovation Project
created a more seciire service entrance to the de Young Museum, Ihere, a
guard station was constructed with complete control of the vehicular and
pedestrian access to the museijras. This new design greatly increases our
internal security.
Personnel
The Museums have been greatly aided by CETA guards, clerks, prepara tors
and community workers, V/ithout this help, we would certainly have had
difficulty maintaining the present level of public service, V/e continue
to have difficulty filling key curatorial positions due to salary levels
which are behind other museums, locally and nationally. The salary im-
balance between certain Museum positions and other City employees con-
tinues to create a situation of low morale.
The Museums also suffer from the lack of curatorial depth in various
departments. Basic clerical staff is now so thin as to impose great hard-
ships during absences due to illnesses or vacations. Even more discourag-
ing is having curators, conservators, registrars and the like spending
their valuable time doing routine clerical work,
1, CETA is a federally funded work training program.
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Administration Division (Continued)
On the positive side, the Museum Society, through direct financial aid
and volunteers, has provided additional personnel support. The staff
chart illustrates the in^ortance of this help. The chart does not show
the 50 new volunteers who v/ork for the Museum on a daily basis in all
facets of museum operations. We are grateful for their support.
Physical Plant
The two antiquated buildings continue to require massive transfusions of
maintenance and repair dollars. The heavy public usage also takes its
toll on the buildings. Poor ventilation and the lack of air conditioning
is now our major concern; it threatens the very existence of the art
objects. Also excessive amounts of natizral light in some galleries, com-
bined with too little artificial light in others, plagues the exhibition
of our collection; the one deteriorates most art objects, and the other
limits proper viewing.
The major Renovation Project at the de Young Museum was partially completed
this year. The new American Galleries were to open on July 4. The new
Cafe de Young was opened and has been steadily growing in popularity.
New shops and design studios as well as staff offices were renovated.
The Art School was preparing to move into its new quarters at year's end.
For more detailed description of the renovation project, see last year's
Annual Report.
The entrances to both Museum buildings continue to provide architectural
barriers to the physically handicapped. Ramps are needed to remedy this
situation, A temporary wooden one was installed at the Legion of Honor
last year, but because of certain physical limitations, the costs of a
temporary ramp at the de Young are prohibitive, A ramp for the de Young
was requested in the City budget, but eventually was deleted as not having
high enough citywide priority.
Budget
Although our budget was increased slightly, v;e continue to look to other
sources of revenue as well as examining our programming. If our basic
operating budget cannot provide adequate personnel and support funds, we
id.ll be unable to maintain private interest in the museums as we would be
forced to decrease the number of exhibitions in special programs. Last
year, the Museum Society's budget was approximately SJl million.
Admissions
In August 1975 the Board of Trustees decided to institute an admission
charge rather than suffer a major budget cut proposed by the Board of
Supervisors, It was implemented December 1, 1975* The Museiims are open
every day of the year from 10:00 to 5:00 PM, For persons age 18-65
admission is 750, persons age 12-l8, 250; persons under 12 or over 65,
Museum Society members. Society for Asian Art members, Museum Trustees,
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Administration Division (Continued)
other museum professionals, members of ICON, AAM, V/AAM, AAMD and BAGAC,
guests as may be determined by the Museums, and members of organized
educational groups, including the person in charge, are free. Payment
of one fee covers admission to the Asian Art MuseiM, M*H, de Young Memorial
Museum and the California Palace of the Legion of Honor on the same day.
Admission is free on the first day of the month. The Museum Society may
charge a separe.te fee for admission to Museiim Society sponsored special
exhibitions and events.
The attendance at the California Palace of the Legion of Honor last year
was 216,4^3 and the de Young Museum was 433j587 for a yearly total of
652,030, See appendix VII for the museums’ admission fund statement of
revenues and expenditures.
Development
The Development Office tliis year was successful in obtaining funds for a
number of major projects. The American Galleries installation v/as com-
pleted vriLth the aid of private contributions and Foundations and Federal
grants. The Dovmtown Center obtained sufficient funding to continue as a
branch gallery of the museum for 1978-79* In addition the museums v/ere
awarded grants for special exhibitions, and internship in decorative arts
conservation, special video and out reach projects for the de Young Museum
Art School, and for equipment for new conservation laboratories at the
de Young,
Tliis year sav; an evolution in the structure of the development effort with
the creation of a joint committee for development of The Fine Arts Museiims
Trustees and the Museum Society, This committee will be charged with the
launching of a capital campaign later in 1977* The smaller Core Committee
for development has also been organized. It meets monthly to review needs
and prospects and malce assignments for short term fund raising.
With the patient help of The Fine Arts Museums staff a Five Year Plan was
updated and presented in programmatic form to the Development Coraraittee.
The plan prioritized the future needs and goals of the museimi and deter-
mined five year cost projections in the areas of capital improvements,
personnel, programs, acquisitions, and equipment, A list of grant activities
appear in Appendix VIH,
Ronald Egherman
Assistant Director Administration
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♦
PUBLIC IMFOMTION OFFICE
The functioning of the Public Infonmtion Office iras seriously ii.ipaired in
October when the City, due to its financial crisis, deleted funds to retain
the Museuns * outside public relations consultant. Application xxas mde to
the Chief Adi.iinistrative Officer for advertising and pronotion funds fron
the hotel tax to restore the previous level of service. Action on the re-
quest had not been taken by the end of the fiscal year, leaving the Public
Informtion Office ilth no staff, no budget and no professional assistance.
Hie year’s record tras not entirely negative by any r, leans, hoxrever, Canpaigns
on belialf of such exhibitions as As ¥e Were, As We Are and Five Centuries of
Tapestry produced a high level of interest locally and, in the case of the
Tapestry exliibition, internationally.
The new gallery of arts of ancient Egypt, Greece and Rone was i/ell received
in the press, and at the end of the year the extensive renovation of the
de Young Museun and the opening of the new galleries ef Anerican art were
announced.
The Public Informtion Office gave assistance in publicizing the schedule of
exhibitions and events at the Downtown Art Center, an additional facet of the
I-liseuns » operations,
Tlie sar.ie sort of service was provided for the music, draria, dance and other
events produced by tlie Program Department, a service previously provided by
the outside public relations consultant,. Activities of the Docent Council,
including those related to Asian art, were publicized. The exliibition of
American Pfeister Draidrigs and Watercolors was received with an unprecedented
amount oi coverage for an exhi^bition of worlcs of art on paper.
Posters for major exhibitions were distributed by a group of volunteers led
by Mrs, Eruce Dohrr^iann and I^Ir, Robert Ross, who have produced a detailed plan
to expedite future poster distribution. Television spot announcaments were
produced free of charge for the tJuseuns by Mr, Edgar Spizel and by KRON
television. The announcement donated by Mr, Spizel is a general promotion
of the Legion of Honor, and the KROH spot was on behalf of the tapestry ex-
hibition,"-These valuable public service contributions were accepted with
gratitude,
Tlie Public Inforr.iation Officer, who is responsible for setting fees for re-
production rights to Museuia-dimed objects, negotiated a royalty arrangement
•with J, Pansu Tapisseries of France for use of the Museums* name in advertising
a tapestry reproduction related to a tapestry in the Museums ’ collection, the
first such arrangement in the his-tory of the Museui,is,
The inval-uable volunteer assistance of Susan Booth is gratefully acloiowledged,
Cliarles D, Long-
Public Information Officer
- 39 -
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THE MUSEUM SOCIETY
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The Museum Society, as the membership organization serving The Eine Arts
Museums of San Francisco and The Asian Art Museum of San Francisco, con-
tinued its support during 1976-77 of a wide variety of exhibitions, pub-
lications, educational programs and other activities at the California
Palace of the Legion of Honor, the M, H, de Yoxmg Memorial Musetira and the
Asian Art Museum,
The following Directors served as Officers of the Museum Society Board
during 1976-77 i
Chairman: V/illiam Stanton Picher
First Vice-Chairman: John Lowell Jones
Second Vice-Chairman: Mrs, G, Gordon Beilis
Treasurer: Richard W, Goss, II
Secretary: Mrs, Joachim Bechtle
Museum Society committee chairmen during 1976-77 were:
By-laws: Edwin J, Mejia
Development: Richard Slottow
Education: Benjamin J, Henley, Jr. (representative to FAI4 committee)
Finance: Richard V/, Goss, II
Membership: Mrs, Frederick littii bridge
Nominating: Mrs, Launce E, Gamble
Personnel: Mrs, V/illiara I4acColl, Jr,
Program: Mrs, William H, McICLeroy
Publications: Mrs, Dixon V/ecter
Shops and Services; Mrs, Laxmce S, Gamble
Travel: Mrs, V/illiam MacColl, Jr,
At the Society’s Annual Meeting of Members on May l6, 1977 the following
were elected as Directors for six-year terras until May 19835
Elizabeth Bogart (Mrs. Johnson S,)
Robert J, Bransten
Patsy Jo Hilliard (Mrs. Asa G,, III)
Fred Martin
V/illiam A, Stimson, II
Lita di Grazia Vietor (Mrs, John A.)
Florence S, V/ong (Mrs, George S.)
At its March 23, 1977 meeting, the Board of Directors appointed R. Lockwood
Tower to the Board to complete the iinexpired terra of Charles Griswold, On
June 15j 1977 the Board appointed Charles J, Patterson as a Director to
complete the unexpired term of Mrs, Joseph '/. Cochran, II,
- 40 -
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THE MSEUM SOCIETY (Continued)
I. PERSONNEL .APPOINTJ'IETra (MUSEIB'I SOCIETY STAFF)
Cynthia E. Ziegler appointed Membership Assistant, June 23 » 1977.
II. MBEPvSHIP
A, Individual Memberships, as of June 30 ^ 1977
Category and dues
Junior (5^10) 693
Senior (^10) 2,276
Active ('^20) 9? 33^
Contributing (^^30) 1,669
Sustaining (+J50) 6^7
Supporting ($100) 239
Donor ($230) 23
Sponsor ($300) 10
Guarantor ($1,000) 1
Life/Benefactor (one-time payment of 64
$300 and upj discontinued category)
Patron ($l,000/year for 10 years) 73
Total paid memberships: 13,049
Honorary Members 9
Complimentary Members 120
Total membership; 13,178
Corporate Memberships, as of June 30. 1977
American Potato Co,
Bank of America Foimdation
Bechtel Corporation
Edward A. Bonnelli & Associates
Booz, Allen & Hamilton, Inc,
Bronson, Bronson & McKinnon
Bryan International Travel, Inc,
Butterfield & Butterfield (Complimentary)
Castle & Cooke, Inc,
Citizens Savings & Loan Association
Coldv/ell Banker & Co.
Coopers 8c Lybrand
H. S, Crocker Co,, Inc,
Crocker National Bank
Crown Zellerbach
Dodge 8c Cox
Firemen’s Fund American Insurance Co.
Flax’s
Industrial Indemnity Co,
Marsh 8c McLennan, Inc.
McKinsey 8c Co,, Inc,
Natomas Comioany
Pacific Gas 8c Electric
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THE MSEUM SOCIETY (Continued)
Corporate Membersliips (Continued)
Potlatch Corporation
Damon Peike & Company-
Retail Dry Goods Association of San Francisco
Rosenberg Capital Management
Schlage Lock Co,
Secizrity Pacific National Bank
Skidmore, Owings & Merrill
Spreckels Sugar Division, Amstar Corp.
Standard Oil of California
States Steamship Co,
Stauffer Chemical Co,
Syntex Corporation
Transamerica Corporation
Union Sugar Division, Consolidated Foods Co,
United California Bank
Vestaur Corporation
Wells Fargo Bank
V/ilbur-Ellis/Connell Bros,
Dean Witter & Co,
Arthur Young & Co,
III. THE MUSEUli SOCIETY AUXILIARY Chairman: Mrs. Richard Otter
The Museum Society Auxiliary’s fund-raising event this year was a "Picnic-
Rama" on March 1, 1977 at the home of one of the Auxiliary members. The
event netted The Auxiliary also handled arrange-ments for the
annual Family Holiday Party at the de Yo-ung on December 12, 1976, Through
its fund-raising efforts in this and previous years, the Auxiliary has
contributed ^65,000 tov/ard the new American Galleries at the de Young, and
an additional S30,000 pledge will be paid over the next three years,
IV. SUBURBAN ATOCILIARIES
The three suburban Auxiliaries, organized in recent years under Auxiliary
sponsorship to stimulate interest in the Museums and the Society, had
active programs in 1976-77« Chairmen for these groups were:
Belvedere- Tiburon Ausciliary: Mrs, James Derryberry
Hillsborou^ Auxiliary: ^Irs, D, W, Furbee
Ross Auxiliary: Mrs, Jason Tuttle
The Ross Auxiliary organized a fund-raising nine-course African Dinner at
the Willis Gallery in San Francisco on March 28, 1977* IL-e event netted
Si j 272 for the acquisitions fund of the Department of Africa, Oceania and
the Americas.
- 42 -
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MUSEUM SOCIETY (Continued)
SUBURBAN AUXILIARIES (Continued)
Seven programs, followed by luncheon, for members of the three suburban
Auxiliaries and their guests, were held during the year:
October 28, 1976: A lecture by Haomas K, Seligman on ''Continuities in
African Aesthetics from Market Place to Masquerades," de Young Museum.
(Hillsborough Aiuciliary)
December 1, 1976; A lecture and gallery tour by Anna Bennett of the
exhibition Five Centuries of Tapestry, Legion of Honor. (Belvedere-
Tiburon, Hillsborough and Ross Ainciliaries)
March 17. 1977? A gallery lectiire tour by Robert Flynn Johnson on the
exhibition American Master Drawings and Natercolors, and a lecture by
Mrs, V/anda Corn on the exhibition Jean-Baptiste Greuze/ 1723~l803i
Legion of Honor, (Belvedere-Tiburon and Hillsborough Auxiliaries)
March 23, 1977: A lecture and gallery tour by Thomas K, Seligman on
the exhibition Masterpieces of Primitive Art, de Young Museum.
(Ross Auxiliary)
May 3, 1977 t A lecture and gallery tour by Thomas K, Seligman on the
exhibition Masterpieces of Primitive Art, de Young Museum, (Hillsborough
Auxiliary)
May 11, 1977: A lecture by Thomas P. Lee on "Tlie Unknovm Louis" followed
by a gallery tour of the permanent collection French Painting under Louis
XIII, Legion of Honor, (Ross Auxiliary)
May 24, 1977? A lecture by Virginia Watkins, Visitng Lecturer, Doshisha
Vtoraen*s College, Kyoto, and Occidental College, Los Angeles on "Shinto
and Buddhist Treasures of Japan," The Tiburon Playhouse, Tiburon.
(Belvedere-Tiburon Auxiliary)
V. GRAPHIC ARTS COUNCIL Chairman: George A. Poole, Jr.
llie name of the Bay Area Graphic Arts Council was changed to the Graphic
Arts Council at the Annual Business meeting on May 24, 1977. At that
time a nev/ Chairman, V/alter C, Goodman, was elected to succeed George A,
Poole, Jr.
Events for Council members in 1976-77 included:
September 10, 1976; Reception in honor of the exhibitions America
Observed; Edward Hopper - Walker Evans and Ja'nes Torlakson Prints at
the Legion of Honor,
October 23, 1976: Lecture by Betsy G. Fryberger on the Piranesi ex-
hibition at the Stanford Art Museum.
- 43 -
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MUSEUM SOCIETY (Continued)
GR/iPHIC ARTS COUNCIL (Continued)
October 29 < 1976; Reception in honor of the exhibition David Lance
Goines: Posters 1968-1976 at the Legion of Honor,
February 24, 1977 i Reception in honor of the exhibition American Master
Drawings and V/atercolors at the Legion of Honor,
May 24, 1977: General Meeting of the Graphic Arts Council,
A portfolio of four etchings, ’’Homage to Boudin” by Elizabeth Quandt,
was purchased from Graphic Arts Council fu^.ds for the Achenbach Foundation.
VI, VOLUNTEER COUNCIL Chairman: Mrs, V/, Robert Phillips
Museum Society volunteers were again very active in many areas of the
Museums* operations this year: exiiibition staffing, Museum curatorial
departments and administrative offices, Membership Desks at both Museums
and clerical assistance in the membership processing section of the Museum
Society office. Please see the Volunteer Council section of the Museums’
Annual Report for a more detailed description of this Council.
VII, DOCENT COUNCIL Chairman: Mrs. J. Alec Merriam
Hie Museum Society continued to serve as the financial guarantor of the
Docent Council and to administer its accounts. Please refer to the Docent
Council section of the Museums’ Annual Report for a complete report on the
Docent Council’s activities.
VIII, OTHER PROJECTS: SHOPS AND SERVICES Chairman: Mrs. Launce E. Gamble
The Museum Society continued its sponsorship of the two Bookshops at the
de Young Museum and the Legion of Honor, as well as the Salvage Shop at
1967 Jackson Street, The Society is also responsible for contracting for
a catering service to manage the Cafe Chanticleer at the Legion of Honor
and the newly-opened Cafe de Young.
See Appendix for ACTIVITIES SUPPORTED BY THE MUSEUl-I SOCIETY and
EXPENDITURES ON BEHALF OF THE MUSEUMS,
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APPENDIX I
ACHSIffiACH FOUNDATION
Ptirchase Acquisitions: Prints
Brooke Alexander Inc.
New York
P. emd D, Colnaghi, Ltd.
London
Sichard HAMILTON, En^^lish contemporary,
Kent State, serifjraph.
Sin.on-Qiarles 14IGER. French, 1736-1820,
Portrait of Hubert llobert, after Isabey.
etching and engraving.
iCLois SENEFELDER. German, 1771-183^?
Portrait of Jacques-Louis David.
lithograph,
Felix BRACQUEMOND, French, 1833-191^.
Engine Delacroix. B,27. etching,
Pierre-Roch VIGNERON, French, 1789-1872.
Anne-Lonis Girodet-Trioson. 1825.
lithograioh.
Alphonse MASSON, French, l8l4-l898,
J.A.D, Ingres, after the self portrait,
etching and engraving.
Alphone LEGROS. French, 1837-1911.
Self Portrait, B.4l2, etching and drypoint-
Victoria Keilus Dailey Charles MERYON, French, I82I-I868,
Los Angeles Le Pont-au- Change, l854,D,V/,34/vii.
(Elizabeth Ebert and Arthur Barney touched proof, etching.
Fund)
Anthony Dav/son
London
Natasha Nicholson Garver
San Francisco
Gropper Art Gallery Inc.
I7est Somerville, Mass,
Elisabeth von HOLLSBEN, German contemp-
orary, English Garden II. 1976,
aquatint,
Henri VAN DE VELDE. Belgian, 1363-1937.
Troppn. 1898, color lithograph,
Bruce CONNER, American, 1933-
Untitled, 1970, lithograph.
After Edgar Degas, French, 20th c,
Guy de Maupassant *s Le Maison Tellier,
publ, by Vollard, 1934," T7 wood engravings
after Degas by Georges Aubert and 19
aquatints after Degas monotypes by Maurice
Potin,
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A.7oc:'xb /3. <■
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. t':'/V'C."Oi^:-73l ■ '-O-xf'v-oAiCi 3J
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30 j'. .A -■'■■: '3 : : ^ 5.txr,r'-;: jj; -3
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Purchase Acquisitions; Prints (Continued)
DeWitt Hardy-
North Bervd.ck, Maine
DeV/itt HARDY, American, contemporary.
Lovers, lithOf'^raph.
Mi chi It ami
Berkeley, Ca,
Mi chi ITAMI, American, contemporary,
Phoenix, 1976, color aquatirt.
Leah Levy
San Francisco
Ten V/orks, Ten Painters, Serigraphs by
George Ortman, Frank Stella, Ellsworth
Kelly, Robert Mother\';ell, Andy Warhol,
Stuar-t Da-vis, Roy Lichtenstein, Larry
Poons, Robert Indiana.
H.E, Lewis Inc.
Anonymous, Augsburg c, 1500
Virgin Crovmed by T\/o Angels, title page
for Pelbartus de Temesvar's Stellarium
corone,,,,
white line v/oodcut.
Auguste BOUQUET, French, l8lO-l846.
Self Portrait as Transvestite.
lithograph,
BEIIJAICEN, French, I81I-?
Caricature of Barye, the sculptor, I838.
B,l; p, 55-36, lithograph,
Utagav/a SADAMASU, Japanese, active
1834-1852, 2 color woodcuts from Modem
Mirror for Actors:
Nakamura Tomi.iuro as Yujiri, early l840s
Kataoka Gado as Izaemon, ”
John Stanphill
Fountain Valley, Ca*
John STANPHILL, American contemporary.
Untitled ^8, mixed media.
Thaclmrey and Robertson
San Francisco
David Lance GOINES. American, 19^5-
Six progressive proofs for poster of
Legion of Honor exhibit, photo offset
lithographs.
Sir Frank SHORT, English, 1857-1945.
Mtc Rigi at Dawn. 1910, H, 94,
mezzotint after J.M.V/, Turner,
1976-1977 Fiscal YeciT Purchase Accessions; ^6 Prints
- 46 -
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%
ITEMS HANDLED BY THE
ACHEIBACH FOUNDATION
Loans FROM Tlie Achenloach Foundation for Graphic Arts
Jiine
April
1, 1976 to
17, 1977:
1 Drav/ing by Georgia O'Keeffe
lent by American Federation of ;brts,
Ne\/ York City,
June
Aug.
15, 1976 to
31, 1976;
2 Color Prints by Kosliiro Onchi
lent to the National Museuin of Modern Art,
Tokyo,
Sept,
Nov,
18, 1976 to
7, 1976:
5 Norks, 3 Prints and 2 './atercolors, by
contemporary Ai:ierican antists, Bontecou,
Escobar, van Hoesen, Nilsson and Porter,
lent to Sacred Heart School, Menlo Park, CA
Oct,
Jan,
1, 1976 to
11, 1977:
1 Drawing by Maxfield Parrish,
lent to Grunv;ald Center, U.C.L.A, , CA
Oct.
Feb,
4, 1976 to
1, 1977:
26 Italian Drawings of 17th & l8th centuries,
lent to Santa Barbara Museum of Art, CA
Oct,
Dec,
8, 1976 to
1, 1976:
30 Etchings by Giovanni Battista Piranesi,
18th century Italian
lent to Stanford University, CA
Oct.
Nov,
10, 1976 to
18, 1976:
8 Color prints by South and Central American
contemporary artists, lent to the Mexican
Museum, San Francisco,
Oct,
Jime
12, 1976 to
30, 1977:
4 Color Etchings by John Ihle, lent to Art
Gallery, University of North Dakota,
Grand Forks, N, D,
Oct.
Nov,
18, 1976 to
28, 1976;
30 Prints lent to Do\7ntown Center, 65I Hov/ard,
San Francisco, for Exhibition illustrating
print mcJd.ng processes.
Nov.
Nov,
24, 1976 to
.?7, 1977:
13 Photographs by Arnold Genthe, lent to San
Francisco Museum of Modern Art for national
circifLation,
Jan,
Mar.
17, 1977 to
21, 1977:
1 Water color by Douglas ’/ilson, American
Contemporary, lent to V/orcester Art Museum,
’/orcester, Mass,
- 47 -
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Loans FROM AFGA (Continued)
February I6, 1977 to
April 15, 1977:
22 Drava.nr^s of 17thancl loth century Italy,
lent to University of California, Santa
Barbara, CA
Jime 23, 1977 to
September 4, 1977:
69 Posters by David Lance Goines,
American Contemporary, lent to University
Art Gallery, U.C, , Berkeley, CA
June 29, 1977 to
March 12, 1978:
3 Color Prints by American Artists, Ethel
Need, Louis Phead, Frank Hazenplug, lent
to V^itney Museum of American Art, Nev/
York City,
1976 - 1977 Fiscal Year Loans from AFGA; 15 LOAI'iD OF 217 I'TI^LS to 15
DESTINATIONS.
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ITEMS I!AI®LED BY THE
ACIIENBACH FOUI®ATION
Loans TO the Achenbach Fomidation
May 22, 1976 to
August 14, 1977:
Loans for Sxliibitions :
Gordon Baldwin Exliibition:
GOHDOH BALDVilN, 25 Pen and Inlc Drra/inf;s.
Bolinas, California
America Observed Exhibition:
G11SJ>HICS INTJTPdIATIOr.Wi, LTD.
1 /asliing t on , D , C .
24 Photorraplis by \/ALKER EVANS
PHIE-DELPIIIA MUSEUM OF APT
Pliiladelpliia, Pa,
14 Etchings by EDV/APJ) HOPPED.
Jafiies Torlalcson Exliibition;
JAMES TODL/UtSON
Pacifica, California
27 Prints by JAIES TOPIAICSON.
David Lance Goines Exhibition:
DAVID LAI^ICE GOINES
Berkeley, California
6l Posters by DAVID LiEICE GOIICS.
American Master Drav/infiis Exliibit:
AMEPICAN FEDERATION OF ARTS
Nev/ York City
282 Drawings and 1/atercolors by
American Artists,
The Piute and The Brush Exhibit:
V/ILLIAM BROVm: PAUL kONNER
San Francisco
50 Indian Miniature V/ater Color Paintings
Currier & Ives Exhibition:
THE ESMARIC COLLECTION OF CURPJER 8c IVES
Cliicago, Illinois
123 Color Lithographs Prints
Sandria Hu - Monotypes Exliibit:
SANDRIA HU
Houston, Texas
33 Color Monotypes.
- 49 -
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ACHENBACH FOUNDATION
Loand to the Achenbach Foundation (Continued)
September 1975 to
August 5? 1976:
1
Small, colored engraving, Christ in Limbo,
by Albrecht Dltrer, Lent by Mr, Julius
Landauer, San Francisco,
March
October
8, 1976 to
15, 1976:
k
Prints by Eugene-Samuel Grasset, Swiss
artist, lent by Jean V/einba.ura, San Francisco
October
June
15, 1976 to
13, 1977:
4
Lithograph prints by Shiko Munakata,
lent by Robert Sawers, London, England,
March
April
25, 1977 to
29, 1977:
3
V/ater colors by Winslov/ Homer,
lent by George D, Hart, San Francisco.
March
2^, 1977 to
49
Drav/ings,
June
28, 1977:
3
1
V/ood Engravings,
V/atercolor, by William Harnett,
lent by Alfred Frankenstein, San Francisco.
1976 ~ 1977 FISCAL YEAR TOTAL LOANS TO AFGA: 13 Sources lent 704 Items,
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I
ACHSNBACH FOUNDATION
Gift Acquisitions; Drai^in.^s
Anonymous Donor
Douglas Fenn i/ILSON. American, 1953-
Upstream Passage, 1973 • water color
Mr, and Mrs. Joseph M,
Bransten, San Francisco
Lyonel FEININGEP. American, 1871-1956,
PeacefilL. 19^2. graphite, inlc, charcoal,
and v/ater color.
Sir Max BEEPJBOHl^I. English, 1872-1956.
Two sketches for A Survey (publ. 1921):
for pi. 21; Trick Election of 19l8. graphite,
for pi, 3^s Gi Vieillesse Pouvait. inlc & graphite
Hope Lobner Caliill
Palo Alto, Ca,
Hope LOBNER (Cahill). American, 1894-
Floral Relief, 1912. charcoal draxving.
Tulips. 1913 • ”
Savonarola, 1914, "
Beulali Path, 1915 • ”
Mrs. Sten E, Carlson
Millbrae, Ca.
(Frank E, Carlson Memorial
Collection)
David Lance GOiriES, .biierican, 1945-
Layout drawing for poster of Legion of Honor
Sxliibit. 1976, pen and inlc.
Mrs. Alexander De Bretteville David COX, English, 1783-1359.
San Francisco
(partial gift)
Grey Day, Calais Pier, v;ater color.
Mr, and Mrs, George Hopper
Fitch, San Francisco
John Taylor ATliS, American, 1887-1953*
Matching the People Beloit, Amiens, 1921.
pen and black inlc drawing,
John Singer SARGENT, American, 1856-1925 .
A Note (The Libreria, Venice), watercolor.
Estate of Mrs, Nell
Chidester Garside
(1973 Bequest)
Otis OLDFIELD, American, 189O-?
Dancing Figures, oil on paper,
Frank J. VAN SLOUN, American, 1879-1938,
Sketch of Tliree Fi.gures, watercolor,
Marie LAURENCIN, French, 1835-1956.
Head of a Young Girl, pencil drawing.
The Goldyne Family
(Dr, and Mrs, Josexoh R,
Goldyne) San Francisco
Nathaniel DAI'JCE, English, 1723-l8ll.
Portrait of a Lady, pencil drawing.
Portrait of a Gentleman, pencil drawing.
Sir Thomas LABTIENCE, English, 1769-1830.
Portrait of Mrs, Sarah Siddons, pencil drawing.
- 51 -
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'I*-) -xco:
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:.'. . '13. ‘ZO.iZ-i nXOu
.:3 :i :v:
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. 1-^Cl" ' .:A.£33 ...XXAA '.'si r.'r.’or '
I.r-X ^
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ACIIENBACII FOUNDATION
I
>
Gift Acquisitions: Drawin,n:s (continued)
Mr, and Mrs, Herinan Phleger V/, Russell FLINT. Scottish, l380-l ; 69
San Francisco Sand and Sea, water color,
I4r, and Mrs, Richard Lockwood Tower Ker-I(avier ROUSSEL. French, 1867-191^
San Francisco Au Jar din, pastel.
1975~1977 Fiscal Year; Gift Accessions; 20 Drawin,n:s (inc, partial ??Lft)
from 10 Donors
- 52 -
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' 'V-: _ coa-tonr.'-iA HjiB
■ -r A-'-oX Xoox-iooJ l-ix-Xor: Arix:’
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ACICNBACH FOUITOATION
Purchase AcqxrLsitions; Dra.vmir:s
Gordon Baldvd.n
Gordon BALDtllN. Atierican, 1939-
Bach 's Eighth Fugue. 1976. inlc dravang
Heim Gallery, Ltd.
London
Anonymous French, c. 1790
Portrait of a Man. pencil, v/asli Sc gouache
J.S. Maas Sc Co., Ltd.
London
Pd. chard DADD, English, l8l9-l589.
Bearded Man v.d.th Pipe, v/ater color.
Anthony Peed
London
David COX, English, 1783-1339 •
Grey Day, Calais Pier, watercolor.
(partial gift of lirs. Alexander de Bretteville)
Franlc S, Schwarz & Son
Philadelphia, Pa,
(Director’s contingency fund)
B.F, OSGOOD. American, 19th c.
Swan and Feather, steel pen and inlc.
Shepherd Gallery, Associates, Inc,
Ne\7 York
Eugene DELACROIX. French, 1798-1863 .
Sheet of Studies, graphite draving.
Thomas Mathev; ROOKS. English, 1842-19^2,
T\';o Standing Male Fi.gures, graphite.
Yvonne Tan Bunzl
London
Giovanni Francesco Banbieri, IL GUERCINO.
Italian, 1591-1666.
St, John the Evangelist Meditating His
Gospel, brown inlc drawing.
Thaclorey and Robertson
San Francisco
(i-ildred Anna ' illiams Fund)
Edmond-Fran9ois Al-iAN-JEAH, French,
1860-1933.
Les Confidences, c, I898, pastel.
Susan V, './elling
Palo -EL to, Ca,
Giovanni Battista TIEPOLO, Italian,
1696-1770,
A Monk, ink and v/ash draving.
1976-1977 PLscal Year; Purchase Accessions; 10 Dra^ri-ngs
(incl, pcirtial purchase)
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ACIENBACH FOUNDATION
Gift Acquisitions ; Prints
Mr, and I4rs, E.C, Bassett
Mill Valley, Ca.
Beth VAN HOESEN. American, 1926-
Poppies and Peony, suite of 4 aquatints.
Bo.y Area Graphic /irts Council
Elisabeth QUANDT, yhnerican, 1922-
Homage to Boudin. IO76. portfolio of
4 etchings.
Joseph M. Brojisten
San Francisco
Georges POUAULT, French, l871-195o.
Self Portrait, 17,85. color lithograph.
Mrs, Annette Carlson
San Francisco
David Lance GOINES, i\merican, 1945-
62 posters, photo offset lithographs.
(Franlc M, Carlson Memorial Collection)
Bernard Childs
New York and Paris
Bernard CHILDS, American, 1910-
No^, 1976, color etching.
Color Guard Employees
Braniff International
Dallas , Texas
Alexander CALDEK, American, 1898-1976,
Flying Colors. 1976. color lithograph.
Mrs, Doris Coyle
San Francisco
Gordon COOK, Ajnerican, 1927-
Geraniums, etching.
lir. and Mrs. George Hopper Fitch
Josef ALBERS, i\merican, b, Germany I888-
Untitled, 1962, etching,
V7ill BAPxNET. American, 1911-
Strange Bird, 1947. lithograph.
Frank W. BENSON. Miericon, 1862-1951.
A Cup of VJater. P, I96, etching,
Isabel BISHOP, American, 1902-
Girls Sitting in Union Square Fountain, 1936
J,l4, etching,
Felix BFcACquSMOND. French, l833-19l4,
Margot la critique. B,113/iii, proof before
letter, etching.
F,-A. CAZALS. French, l865-194l.
Verlaine de dos. 1893. lithograph \cLth
hand color.
Jose Luis CUEVAS, Mexican, 1934-
Bordello scene, ded, to Ramon }Ciran,1969.
lithograph.
- 54 -
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Gift Acgioisitions Prints (Continued)
Mr, and Mrs, George Hopper Fitch Stuart DAVIS, American, 189^-1964.
Untitled, serigraph.
Francisco BOSAMANTES, Mexican, 1911’*
Mayan Trio, lithograph.
Andre DUNOYER DE SEGONZAC, French,
1884-1974,
Un puits ancien for p, 77 of Les
Georgiques, L,&C, 1943* etching,
Henri FANUN-LATOUR, French, l836-1904.
Sheet of studies of nudes.
H,l82/i, trial proof w, number and first
sketches, lithograph,
Lucio FONTANA. Italian, 1899-1968.
Concetto Spaziale, 1968, mixed media,
Norbert GOENEUTTE. French, l854-l894.
Le Pont-Neuf, etching,
Marcel GROMAIRE, French, 1892-
Lion of Belfort, etching.
Robert GWA'THMEY, American, 1903-
V/oman Sowing Grain, serigraph.
Seated Woman, serigraph,
George Overbury "Pop" HART, American,
1868-1933 o
Springtime in New Orleans, 1923 •
C.69* li thograph •
Eugene ISABEY. French, l803-l886,
Ruines du chateau de Bouzols, • . from
Voyages pittoresques, Auvergne. C,4o/ii.
lithograph.
Maree Basse. 1833 • from Six Marines.
C,65/ii. lithograph.
Yasuo KUNIYOSHI. American, 1893-1933.
Girl Milking Cow, 1927. lithograph.
Alphonse LEGROS, French, 1837-1911.
Extase poetique. etching.
Jack LEVINE, American, 1913-
King David, etching.
- 33 -
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Gift Acquisitions Prints (Continued)
Mr, and Mrs, George Hopper Fitch Stanton MACDONALD- VffilGHT, American,
1890-1975.
Untitled. 1962, etching,
Aristide MAILLOL, French, l86l-19^1.
Femme e t endue. . ,1926, 0,323. etching,
Charles MERYON. French, I82I-I868,
L’Esperance, D,35/il. etching,
Kenneth Hayes MILLER, American,
1876-1952.
Crouching Nude, etching,
Jose Clemente OROZCO, Mexican,
1883-19^9.
Three Generations. 1926, lithograph,
Jose Guadalupe POSADA, Mexican,
18!X-1913.
Mo tines El Volador, from Discurso
Politico, p,50. zinc engraving,
Odilon REDON. French, l840-19l6.
XIII., et qtie des yeux: sans tete, , , from
Flaubert’s Tentations de Sainte-Antoine . .
M,l46, lithograph,
IX, ,et le lis pour mille ans from
Apocalypse de Saint-Jean. M. l82,
lithograph,
Augustin Theodule RIBOT, French,
1823-1891.
L’aide de cuisine from Scenes culinaires
#5, B,8/ii, etching,
Diego RIVERA, Mexican, 1886-1957.
Market Scene, 1930. linoleum block.
Sleep, 1932, lithograph,
Zapata. 1932, lithograph,
David Alfaro SIQUEIROS, Mexican,
1896-197^. Seated Nude, lithograph.
Mank TOBEY, American, 1890-1976.
Composition, 1967. color lithograph,
Maurice UTRILLO. French, 1883-1955.
La Maison Rose a Montmartre, lithograph.
- 56 -
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Gift Acquisitions Prints (Continued)
Mr,, and Mrs, George Hopper Fitch
Jacques VTLLON. French, 1875-1963 •
La Faute, 1904, A,8«P,64, aquatint,
Julian Alden IffllR, American, 1852-1919 •
Mother and Child #2,2,7/ii*etching.
Estate of lirs, Nell Chidester Garside
(1973 Bequest)
Keisei EISEN, Japanese, active l8lO-l847.
Courtesan Drying Face, color woodcut,
Maurice UTRILLO, French, 1883-1955.
Moulin de la Galette, lithograph,
Mauricio LASANSKY, American, 1914-
La Lagiama, 1944, mixed intaglio,
Lyonel FEININGER, American, 1871-1956.
Church with Tall Tower. 1920«Po221 woodcut
Regentag am Strande, P,29. woodcut,
Marie LAURENCIN, French, 1885-1956.
Girl with Bouquet, color lithograph,
John KELLY, American, 1877-7
Standing Woman, Holoku, Hawaii,
color etching.
The Goldyne Family
(Dr. and Mrs, Joseph B, Goldyne)
San Francisco
Jacques VILLON, French, 1895-1963.
Autre Temps: 1830. 1904. A. & P. 72.
drypoint and color aquatint.
Brian Halsey
Ann Arbor, Michigan
Brian HALSEY, American contemporary,
Costmos Suite, 1976, suite of 5 serigraphs
Robert Flynn Johnson
San Francisco
Emil GANSO. American, l895-194l.
Jules Pascin. woodcut.
John Lov/ell Jones
Stinson Beach, Ca,
Jose LAMBERT, American, 1939-
Arches France #L. color lithograph
with string.
Dr, Maury Leibovitz
Malibu, Ca,
Robert MOTHERVfflLL, American, 1915-
Hermitage, color lithograph.
Mr, and Mrs, F,A, Lejeune
Frank Morley FLETCHER. American,
1866-1949.
California 2-Mt, Shasta, color woodcut.
Martin Levine
Oakland, Ca.
Martin LEVIT'IE, American, 1945-
The Pardee House-south view, aquatint
The Pardee House-west view, aquatint
- 57 -
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Gift Acquisitions Prints (Continued)
Leah Levy
San Francisco
Albert A, List Family Collection
(Mrs, Albert A, List)
Mr, and Mrs, Nikita D, Lobanov
San Francisco
Judith Lopez
San Francisco'
Mr, and Mrs, Herman Phleger
William Stanton Picher
San Francisco
Ernest Posey
San Francisco
Marie BRUMOND, American, 1948-
Pacific Flavors, 1976, serigraph,
V/arrington COLESCOTT, American, 1921-
History of Printmalcing; S,V/, Hayter
Discovers Viscosity Printing. 197^»
color etching,
Don MATIS, American, contemporary,
N, Truhanova as La Peid, after Bakst,
poster,
Judith LOPEE, American, 1940-
Black Profiles, Series 6, 1976, aquatint
REMBRANDT VAN RIJN, Dutch, I608-I669.
Christ Preaching, H,236, etching,
PABLO PICASSO, Spanish, 1881-1973.
Lysis trata Suite, 1934, six etchings.
Sir Francis Seymour HADEN, English,
1818-1910,
Old Chelsea Church, H.llO, etching,
Joseph PENNELL, American, I86O-I926,
Mist Over the Thames, V/,237. aquatint.
Axel Herman HAIG, Swedish, 1833-1921,
Mont St, Mchel, 1882, A, 27, etching,
Burgos Cathedral; Interior, l889.A,63>
Toledo Cathedral; Interior, I889 , A, 66 ,
Portals, Reims Cathedral, I892, A, 94,
Durham Cathedral, 1q'93» -4. 99 .
St, iiark^s Venice: Interior, I897. A, 123
Assisi, October Evening, 1903. A, 130,
Cxu'rier and Ives, American, 19th c,
Vfliy DonH He Come?, hand colored litho.
Ernest POSEY, Amierican, 1937-
Bubble Chamber, 1976, serigraph.
Fred Reisinger
Zm Francisco
Fred PUISINGER, American, 1930-
Ahoy, 1973. serigraph v;ith embossing,
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Gift Acquisitions Prints (Continued)
Mr. and Mrs. Allan P. Sindler
San Francisco
Smith-Andersen Gallery
Palo Alto, Ca,
Estate of Marvin Spohn
Anthony HARPISON. English, 1931-
Requiem I. etching.
Requiem II. etching.
Requiem III, etching.
Leonard BASKIN, Ajuerican, 1922-
Blake. 1963* etching.
Ares, from Iliad folio, etching,
Hephaistos, from Iliad folio, etching,
Castle Street Dogs. l4 wood engravings,
John COLEMAN, Araeid.can, 1923- color
Some Figures and a Table. 1964, etching
Joseph ZIRKER, American, 1924-
Un titled raonoprint,
Kenjilo NANAO. American, 1929-
Silver Flower III, color lithograph,
Marvin SPOHN, American, 1934-1976.
153 etchings and drypoints.
Van Doren Gallery
San Francisco
Fred REISINGER, American, 1930-
Poster for California Society of
Fnintmakers. 1976. ~~
color lithograph id-th embossing.
1976-1977 Fiscal Year Gift Accessions: 343 Prints from 29 Donors
- 59 -
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ACHEKBACH FOUT'IDATION
Gifts to the Library and Miscellaneous
I4r, and Mrs, Joseph M, Bransten
San Francisco
Rena and Patricia Bransten
San Francisco
In honor of Alexandra Phillips
George H, Cabaniss, Jr.
San Francisco
Susan King
San Francisco
Julius Landauer
San Francisco
Betty LaDuke
Ashland, Oregon
Mr. and Mrs, Arnold D, Palley
San Francisco
V/illiam Stanton Picher
San Francisco
Mr, and Mrs, Richard Lockwood Tower
San Francisco
George D, Hart
Ross, California
George D, Poole, Jr,
San Francisco
Beerbohm, Max: A Survey. New York, 1921.
De La Faille, J.B, ; Vincent Van Gogh
revised 1970,
4 books for Theater and Dance Library
2 DHrer facsimiles
3 drawing catalogues
3 Kornfeld and Klipstein catalogues
LaDiike, Betty: China, A Sketchbook Tour
Eichenberg, Fritz: The Art of the Print.
New York 1976.
Hendricks, Gordon: Life an.d Work of
Thomas Eakins. New York, 197^,
T^ze von Anna Pavlova im Bilde,
Dresden, 1931.
Leder, Carol;^’ii: Stanley Spencer: The
Astor Collection. London, 197^«
Sarre, Friedrich & Eugen Mittv/och:
Zeichnungen von Riza Abbasi.
Munich, 1914. ' ' ' '
Oval mat cutter
Stock, Received May 1976 but not ack-
nowledged by Delores Malone until
July 1976,
I
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APPENDIX j.„
GIFT ADDITIONS TO THE COLLECTIONS OF TFIE M. H. DE YOUNG MET^QRIAL MUSEUM
76.15.1
76.15.2
76.16.1-8
76.17.1-6
76.17.7
76.18.1
76.18.2(A,B)
76.19
76.20.1
76.20.2
76.20.3
76.20.4
76.21.1
76.21.2
76.21.3
76.21.4
76.22
76.23.1
76.23.2
76.24.1
76.24.2
76.25.1
76.25.2
76.26.1-20
76.27
76.28
76.29
COPTIC TAPESTRY FRAGMENT, 4th-5thc.
ET^BROIDEPxED TURKISH TOITEL, late l8thc.
Gift of Ho\7rj7d El ting, Jr. ^2)
COLLECTION OF SILVER’ LARE (Accepted as Gift to Museums Foundation
Gift of Miss Elizabeth H. Blakey
SIX COPTIC TEXTILE FRAGMENTS. 3rd-5thc.
FLOPvAL DAMASK FRAGMENT. French, ca, 1770
Gift of Mrs, Vivienne L. Blanquie
PROFILE OF MOHAMI-IAD II. medal by Bertoldo di Giovanni, ca. l48o
PAIR OF IVORY PLAQUES, German, ca 1520
Gift of Julius Landauer
MIDDLE SEPIK V/OVEN BASKET MASK (Gift to Museum Foundation L76,35)
Gift of Mr, & Mrs, Vifilliam King Self, Jr,
KOR MASK
GABLE MASK
BOARDS TUSK NECIOACE
TURTLE SHELL MASK I'/IIH FEATHERS
Gift of Victor J. Bergeron (Gift to Museum Foundation L76,36)
BOZO POT
DOGON IRON STAFF
ZAIRE VJOOD STAFF
FON STAFF HEAD
Exchanged (Board of Trustee Approval - August 10, 1976) for:
2247 MAORI FEATHER CLOAK
47.23.3 HAV/AIIAN V/OOD BOl^L (UI4EKE)
59.12.4 imONESIAN ANCESTOR FIGURE (KOROWAR)
COSTU~MB. French, 19th-20thc.
Gift of Comtesse Emnanuel de Casteja
UNGUENTARIUM . Roman glass, lst-2ndc.
UNGUENTARIUli . Roman glass, lst-2ndc.
Gift of Charles K, Gamble
ZOOMORPHIC HELMET MASK, Chamba, Nigeria, wood
FETISH FIGURE. Senufo, Ivory Coast, wood, cloth & feathers
Gift of 14r. & Mrs. Erie Loran
HUI4AN HAIR SPRAY ARRANGEMEI^T, American, ca I865
HUMAiNf HAIR SPRAY ARRAI^GEIiENT, American, ca I865
Bequest of Anna K, Burnett
COLLECTION OF 20 HUICHOL If^IAN YARN PAIITTINGS
Gift of Peter F. Young
CANCELLED (NOT USED)
^’POBBO" FUNEPvARY FIGURE. Kissi, Guinea, stone
Salinger Fund Purchase
LES BAIG^?EUSES, oil painting by Joseph Vernet
Gift of Mrs, Georgia M, V/orthington
SILVER-GILT CHALICE, German, ca 1450
Gift of Julius Landauer
- 61 -
77.1
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GIFT ADDITIONS DE YOUNG MUSEUI4 (Continued)
77.2
77.3
77.^.1-3
77.3
77.6
77.7
77.8
77.9
PHILADELPHIA HIGHBOY, mahogany w/brass fittings
Gift of Mr, & Mrs, Robert A, Magowan
SET OF FOUR TEA POYS (TABLES), English
Gift of the Magowan Decorative Arts Fund
THREE HAWAIIAN FEATHER LETS, ca early l800*s
Gift of Mrs, Lloyd Osborne in memory of Mrs. John M, Dowsett
IMTITLED TAPESTRY (WOVEN ON ALBERT HERTER LOOM), 1913
Gji,ft of The Fine Arts Museums Trustees Fund
5AWAGES DE LA MER PACIFIQUE, l8o6, handpainted wallpaper
Gift of Georgia M, V/orthington & The Fine Arts Museums Trustees
UPSET, oil painting by Joseph Decker
Gift of Alfred Frankenstein
NORTH AMERICAN INDIAN BASKET
Gift of Mrs, Theodore Friedlander
ACOMA POT (Geometric, Floral and Parrot Motifs)
Gift of Mrs, Patricia Foubert
77.10 CHANCAY TEXTILE FRAGMENT, brown and cream
Gift of Mr, and Mrs, Douglas E, Hill
77.11.1-5 FIVE 20th CEIMTURY LADIES’ COSTUICSS
Gift of Albert Schwabacher, Jr,
77.12.1 VJEDDING DRESS, ca I835
77.12.2 STRIPED BROVJN SILK DRESS, ca l875
Gift of Marshall Hughes
77.13 BAMBARA KONO SOCIETY MASK
Gift of Mr, 8c Mrs, Marc Franklin (to be listed as Anonymous Donors)
77.1^ JACOBIS LADDER, tapestry fragment
Gift of Elizabeth Ebert and the Arthur ¥, Barney Fund
77.15 NE1<'IBURYP0RT ROOM, ca early iSOO's, period room (American)
Gift of The Museum Society Auxiliary
77.i6(a,b) pair of majolica basiqdts v/ith fruits and vegetables
Bequest of Mrs, James Bodrero
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LOANS TO THE M. H. DE YOUNG HEMOBIAL MUSEUM
L76,7 the BARGEI^IAI^ * S VrjFE, oil pciinting by Robert Spencer
Loaned by Mr, & Mrs, Harry W, Anderson
L76.8 EGYPTIAI^ (OLD laNGDOM) LIMESTONE RELIEF
Loaned by Galerie de Sycomore, Paris, France
*L76,9 mahogany desk (MASSACHUSETTS), ca. 1765
Loaned by Harrison Antiques, San Juan Capistrano, California
L76.10(A,B) PAIR OF SILVER STATUETTES, Italian
Loaned by Robert Fairall
L76,11 the sailor *S RETURN, oil painting by Toby Rosenthal
Loaned by the Florence Heilman Elirman Trust
L76.12 TROPICAL SCENE AT NIGHT, oil painting by Frederic E, Church
Loaned by Earl Osborn
L76.13 COLLECTION OF PRE-COLUMBIAN FRESCOES
Loaned by Crocker National Bank (Estate of Harold Wagner)
♦L76. 14.1-3 THREE MASAI BEi\D NECKLACES
Loaned by Thomas K, Seligman
♦L76.15.l-3 THREE MASAI ETHNIC ARTIFACTS
Loaned by Jean Colvin
♦L76.l6.l-23 PHOTOGPxAPHS AND OBJECTS FOR MASAI EXHIBITION
Loaned by A1 van Dalen
L76.17.1
GEORGIAN COFFEE POT, silver by Thomas Mason, London, 1726/27
L76.17.2
GEORGIAN CREAMER, silver, English, ca 1790
L76.i7.3-6
FOUR EMBROIDERED HANDKERCHIEFS, ca, 1920-30
L76.17.7-10 FOUR ANTiqUE LACE DOILIES
Loaned by Mr, & Mrs, George Hopper Fitch
L76.I8.I
NOMOLI FIGURES
L76.18.2
FACE MSK
L76,18.3
F5TISH FIGURE
L76.18.4
FACE MASK
Loaned by Bill Withers
L76.19
HORNED CAP liASK
Loaned by Michael Sarrazin
L76,20,1
CLAY PIPE
L76,20.2
DIVINATION BOVJL
Loaned by Robert and Lilyan Eisenstein
L76.21.1
STANDING FIGURE
L76.21.2
STAITOII^ FIGURE
L76,21,3
FACE MASK
L76.21o4
JANUS SHiJIGO STAFF
L76,21.5
PASSPORT MASK
L76,21.6
s'TAI'IDING male figure
L76,21,7
JANUS HEADDRESS
L76,21.8
DOG FORM OBJECT
Loaned by Edgar and Marcellina Gross
- 63 -
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LOANS TO M. H. DE YOUNG MEi)40RIAL MUSEUM (Continued)
*L76.23
*L76.24-.;.
(A,B,C,D)
♦L76.23
L76a26.1
L76.26.2
L76.26.3
L76.26,4
L76.27.1
L76.27,2
L76.28
L76.29.1
L76.29,2
L76,29.3
L76.29.4
L76.30.1
L76.30.2
(A,B)
*L76.31o1
L76.31,2
L76.31.3
L76.32.1
L76.32.2
L76.32.3(A,B)
L76.32.4
L76.32,3
L76.32.6
L76.32.7
L76.32.8
STANDING FEMALB SHRINE FIGURE
Loaned by Joe Wizan
»'POMDO»» FUNERARY FIGURE, Kissi-Guinea
Loaned by Alexander Suggs Gallery, St, Louis, Missouri
NEST OF FOUR TEA POYS (TABLES), English, l8thc.
Loaned by I4r, Stephen Crawfurd
SILVER GANN, English, ca. 1720
Loaned by Golden Gate Collectors
EETISH MASK
FACE MASK
STAITDING FIGURE
FETISH !iASK
Loaned by The Fine Arts Museums Foundation
Gift of Sydney and Claire Pollack
FACE MASK, Liberia, Dan
LOOM HEDDLE PULLEY (SIJPxMOUNTED BY BIRD), Ivory Coast, Senufo
Loaned by The Fine Arts Museums Foundation
Gift of Bill Withers
FACE MASK
Loaned by The Fine Arts Museums Foundation
Gift of Michael Sarrazin
ABSTRACT MASK W/TRUMPET
HELMET MASK
STANDING FETISH FIGURE
FACE MASK
Loaned by The Fine Arts Museums Foundation
Gift of Robert and Lilyan Eisenstein
HORNED CAP MASK
MALE AND FEI'^IALE FIGURES
Loaned by The Fine Arts Museums Foundation
Gift of Edgar and Marcellina Gross
ASHANTI COMPOSITE NECIGLACE
MUDFISH RING
PORCUPINE RING
Loaned by James V/illis Gallery
TANKAPJD, English, silver, l8thc,
LADLE ^ English, silver, 19thc,
PAIR OF SERVING SPOONS, English, l8th c.
CAUDLE CUP, French, silver, l8thc,
GOBLET, English, 19thc.
CREAMER, English, l8thc,
BOVJL, Portugese, l8thc.
TODDY LADLE, English, silver, l8thc.
Loaned by The Fine Arts Museums Foundation
Gift of Miss Elizabeth H, Blalcey
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LOANS TO H. H. PS YOUNG MilMORIAL MUS5UI4 (Continued)
L76.33
L76.3^
L76.33
L76*36.1
L76.36.2
L76.36.3
L76.36.4
L76.37.1-^
L76. 38. 1-112
L77.1.1
L77.1.2
L77.2
L77.3.1
L77.3.2
L77.3.3
L77«3.^
L77.3.3
L77.4
*L77.5.1
♦L77.5c2
L77.6 (A,B)
L77.? ( :
STANDING NEt-lALE SHRINE FIGUNE, Nigeria, Ibo
Loaned by The Fine Arts Museiiras Foundation
Gift of Joe V/izen
TAPESTRY FRAG^iE^TT, \^rool & silk
Loaned by Harry Davis
MIDDLE SLPIK WOVEN BASICET ^^ASK
Loaned by The Fine Arts Museums Foundation
Gift of Mr« & Mrs, V/illiam ICing Self, Jr,
KOR MASK
GABLE MASK
BOARDS TUSK NECKLACE
TURTLE SHELL MASK '■■/ITH FEATHERS
Loaned by The Fine Arts Museums Foundation
Gift of Victor J, Bergeron
FOUR ANTIQUE LACE DOILIES
Loaned by The Fine Arts Museums Foundation
Gift of Mr, and Mrs, George H, Fitch
COLLECTION OF 112 AFRICAN OBJECTS
Loaned by The Fine Arts Museums Foundation
(not recM at museum)
Gift of Mr, & Mrs, Ralph Neely (Anonymously)
PORTRAIT OF JAIffiS V/, SDiES, oil ptg by James Peale
PORTRAIT OF ELIZA SIMES, oil ptg by James Peale
Loaned by Mrs, V/, J, Montgomeiry
CHARGER, brass, Flemish or German, 13th c.
Loaned by Mrs, U, G, Hitchcock
I4ARY WALTON MOPxRIS, oil ptg by John Wollaston
LE\--/IS MORRIS, oil ptg by John V/ollaston
MR, V/ILLSON, oil ptg by Unkno\m American Artist
A CROW VILLAGE ON THE SAIMON PJVER, oil ptg by George Catlin
THREE ^iANDATl VIARRIOPyS ARI-4SD FOR WAR, oil ptg by George Catlin
Loaned bj’- The National Gallery of Art, V/ashington, D,C,
BISHOP* S COPE, French, late l6th-early 17thc.
Loaned by Edward Nagel
STUJER TEA POT
SILVER CREAI-iSR
Loaned by Theresa and Arthur Greenblatt
PAIR OF BRASS AI^TDIRONS, Baltimore, ca, I80O
Loaned by De Silva Brothers
LEEAND.^S'TANFORD*S PICNIC, oil ptg by Ernes te Narjot
Loaned by Dr, Carl S, Dentzel
\ifINTER, v;ood, polychrome sculpture, 19th c.
Loaned by Victor Spark
L77.8
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i.odBBlIOvJ ££i.iK..,. V'CJ I'i-i'q' Xi<^
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LOANS TO M. H. DE YOUNG I-IST-IORIAL MUSBM (Continued)
L77.9.1
L77.9.2
L77.10
L77.il
L77.12.1
L77.12.2
L77.12,3
L77.13
L77.14
L77.15
L77.16
L77.17
L.77.18.1
L.77.18.2
L,77.19&20
L. 77.21
L,77.22,l
L, 77. 22. 2
L. 77. 22.3
(A,B)
L77.23.1
L77.23.2
L77.23.3
L77.23.4
L77.23.5
L77.23.6
L77.23.7
L77.23.8
L77.24
L77.25.1
L77.25.2
MOTHBN AND TV/0 CHILDEEN, oil ptg by Mary Cassatt
HOUSE IN SAN MATEO, iiratercolor by Edward Hopper
Loaned by Mrs. Alexander Albert (Anonymously)
VIEW FROM MALKASTEN LAWN, oil ptg by Albert Bierstadt
Loaned by Mrs, Peter McBean
TURKISH BATH, 1913. watercolor by Charles Demuth
Loaned by George Hopper Fitch.
BASH-BISH FALLS, oil ptg by John F. Kensett
PADDY FLANiNfIGAN. oil ptg by George Bellows
STILL LIFE, oil ptg by Severin Roesen
Loaned by Mr. and Mrs. V/ill Richeson, Jr.
STILL LIFE, oil ptg by Rembrandt Peale
Loaned by Mr. and Mrs. Robert C, Graliam
STILL LIFE OF FRUITS, oil ptg by Alfred Maurer
VENICE, monotype by Maurice Prendergast
Loaned by V/illiarn S, Picher and V/alter C. Goodman
PORTRAIT OF IZME VICIfERS, oil ptg by John Singer Sargent
Loaned by David Pleydell-Bouverie
NOT USED
SUNSET, watercolor by John Marin
GREEN RIVER, IaTYOMHG, watercolor by Thomas Moran
Loaned by Mr. and Mrs. C. Thomas May, Jr.
NOT USED
"HA« I LIKE NOT THATS (OTHELLO)”, cast sculpture by John Rogers
Loaned by Robert V/. Zimmerman
HARBOR SCENE, oil ptg by Robert Salmon
BRASS FIPJPLACE FENDER. American, ca. l800
BRASS AND IRON UREPLACE TONGS AND SHOVEL, ca. l800
Loaned by Ted Samuel
MARIA MYTILDA IVTNKLER, oil ptg by The DePeyster Painter
MRS, CHAPvLES APTHORP. oil ptg by Robert Feke
BOATMEN ON THE MISSOURI, oil ptg by George C. Bingham
NIAGARA FALLS, oil ptg by Albert Bierstadt
CRANBERRY PICKERS, oil ptg by Eastman Johnson
STUDIO CORNER, oil ptg by William M. Chase
BUDDHA OF KAMAICU~RA. watercolor by John La Farge
KITCHEN AT \CCLLIAMSBURG , oil ptg by Charles Sheeler
Loaned by Mr, and Mrs, John D, Rockefeller, 31*1
INDIAN ENCAMPMENT, watercolor by Henry Famy
Loaned by Mr, and Mrs, 0, G. Villard, Jr. (Anonjmiously)
MAHOGANY SOFA, ca. l800
MAHOGANY VJING CHAIR
Loaned by The Metropolitan Museum of Art, New York City
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LOANS TO M. H. DE YOUNG !4EMORIAL MUSEUM (Continued)
L77.26.1
L77.26.2
L77.26.3
L77.26.4
L77.26.5
L77.26.6
L77.26.7
L77.26.8
L77*27
L77.28
L77.29
L77.30
L77.31
L77.32
L77.33
*L77.34
L77.35.1
L77.35.2
L77,35.3(A,B)
L77.33.4(A,B)
L77.33.5, 6
L77.36.1
L77.36.2
L77.36.3
L77.37.l-3
L77.37.4
L77.38
SIMER, oil ptg by V/illiara Bradford
li/INTER, oil ptg by V/illiam Bradford
JOHN H, BKEVICR, arnbrotype by R. S* Robins
CHILD IN STRIPES ON CHAIR, photo by Unknown Photographer
TV/0 V/OMEN, tintype by Unknora American Photographer
THE TERMINAL, 1892, gravure print by Alfred Steiglitz
GRAND CANYON OF THE YELLOWSTONE, sepia print by W. H. Jackson
ANIMAL LOCOMOTION, Plate 188/ photo by Eadweard Muybridge
Loaned by Tlie Oakland Museum, Art Division
STILL LIFE ("THE GAZETEER'O, oil ptg by William M. Harnett
Loaned by Mr* and Mrs* Dean B. McNealy (Anonymously)
FARMER kHETTING HIS SCYTHE, oil ptg by V/illiam S. Mount
Loaned by The Museums of Stony Brook, Stony Brook, New York
EXHIBITION (Galleries A 8c B) ; THE SOUND OF FLIGHT* 7 drawings,
2 silver drum brushes, chair, microphone and stand, stereo
r equipment*
Loaned by Tom Mariori
LOW BOY (DRESSING TABLE), Baltimore, ca I760/63
Loaned by Mrs* Theodore Meltzer (Anonymously)
USHAXJUG, Turkey, 17thc.
Loaned by H* McCoy Jones
MAN^S THREE PLECE SUIT W/ACCESSORIES, ca I883
Loaned by The Los Angeles County Museum of Art
BROADSIDE ADVERTISEMENT* print, N. Currier
Loaned by Warren Hox-/ell
MARKET SCENE w/STILL LIFE, oil ptg by Bernardo Strozzi
Loaned by Stanley Moss
PUNCH BOWL/OPEN TUREEN, green "Tltzhugh" pattern, ca l8thc,
GINGER JAR TlMDSIJaP^ FISHING), Chinese
PAIR OF COVERED VEGETABLE DISHES
m^'po~T ^ ~
TV/0 PLATES
Loaned by Ian McKibbin l#iite
GLACIER, 1879% dravriJig by John Singer Sargent
LIFE STUDY CLASS, drawing by John Singer Sargent
GATHERING GPJVIN, drawing by John Singer Sargent
Loaned by The Metropolitan Museum of Art, New York
THREE POSTCAP.DS; MIDV/INTER FAIR
FINE ARTS BUILDING, MIDWINTER EXPOSITION, col lithograph
Loaned by F* Lanier Graham
VIEV/ OF STATUARY, CRYSTAL PALACE, col lithograph
Loaned by Donelson F* Hoopes (Anonymously)
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LOANS TO M. H. DE YOUNG MORTAL MUSEM (Continued)
L77.39
L77.^0
L77.^1
L77.42
L77.^3
L77.^^
L77.45
L77. ^6.1-2
L77.47.l-5
LIBRARY TABLE, oak, by Gustav Stickley, ca, 1905
Loaned by Mr. and Mrs. Robert Mattison
SILVER NAVAJO NBCKLACE, Ainerican, 20th c.
Loaned by V/est of the Moon
EXHIBITION (Gallery H) : "THE ASMAT"
13 photographs, 1 costume, 1 wooden shield
Loaned by Laurens Hillhouse
21 PHOTOGPJiPHS OF BORNEO plus SEVEN ETHIHC OBJECTS
Loaned by JuJLie Heifetz
E:(HIBITI0N (Gallery B) : DRA'vIENGS 8c SCULPTURE, LOUVINA V/ONG
Loaned by Louvina Wong
GORLECTION OF 44 PIECES OF SCRIMSHAW (SPECIAL EXHIBITION)
Loaned by Darlene Pearson
EXHIBITION (Gallery A) : PHOTOGRAPHS BY DONNA-LEE PHILLIPS
Loaned by Donna-Lee Phillips
TWO HANDCOLORED PHOTOGRAPHS (for possible future exhibition)
Loaned by Lynn Hershman
FIVE EAPJLY AI4ERICAN AND ESICTMO ITE^'IS FOR SPECIAL EjCHIBITION
Loaned by Bill Pearson
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APPENDIX III
ADDITIONS TO THE COLLECTIONS OF TI-IE CALIFORNIA PALACE OF THE LEGION OF HONOR
1976.5 PORTRAIT OF AH^A SEVENING, I906, oil/canvas, American
by Louis Betts (lS73-19^l)
Gift of Laiirrence and Phillip V/estdahl
1976.6 ST. JEROME IN HIS STUDY, oil/canvas, French
by Claude Vignon (1593-1670 )
Gift of the Mildred Anna Williams Fund
1976.7 TV/0 WOMEN EXCHANGING CON~FIDENCES , pastel/paper/canvas, French
by Edmond-Fran9ois Aman-Jean (1^53-1955 )
Gift of the Mildred Anna Williams Fund
1976.8 LA SOURCE, bronze sculpture, French
by Edme Bouchardon (1693-1762)
Gift of the Mildred Anna Williams Fund
1977.1 Prints accessioned by the Department of Prints & Drav/ings
1977.2 Drawings accessioned by the Department of Prints & Dravd.ngs
(See Appendix I)
1977.3 CALIFORNIA POPPIES, 1976, tapestry, American
designed by Mark Adams, woven at Museum
Gift of the Artist
1977.^ THE ROCKS IN THE PARK OF TOE CHATEAU NOIR, oil/canvas, French
by Paul CSzanne (l^39-1906) ’ — —
Gift of the Mildred Anna 'Williams Fund
1977.5. 172 PIECE FPl^NCH XIX CENTURY PORCELAIN DINNER SERVICE
I-I72 Chateau Randan marks by Sevres factory from lo39
Gift of Mrs, Alexander de Bretteville
1977.6 SAINT BARBARA, c. 1475* limestone sculp tiire, French
by an Unknown Artist
Gift of Paul Ballora
1977.7 PASTORAL LANDSCAPE, c. 1790-l800, oil/canvas, French
by Louis Gabriel Moreau the Elder (l7^0-l8o6)
Gift of the Mildred Anna Williams Fund
1977.8 LA PARTIE QUAERES, 1712, oil/canvas, French
by Antoine Watteau (1684-1721)
Gift of the Mildred Anna Williams Fund
Correction to the Annual Report of 1975-1976
The following painting has been reassigned to the collections of the M. H,
de Young Memorial Museixm, and has therefore been renumbered as shown below:
1976.4 LA BAIGNADE (The Bathing Place), 1786, oil painting, French
becomes by Joseph Vernet (1714-1789)
76.29 Georgia M, Worthington Fund Purchase
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Loar:^'? FROM the Lepiion of Honor
1962.21
1966.50
19^1.28
1941.6
1958.11
1950.30
1951.28
HARVEST TIME, I873, TO: Villa Hugel, Essen, Germany
oil painting by 9/22/76-12/12/76
William Hahn AND: Osterreichisches Museum Ftir
(1829-1887) Angewandte Kunst, Vienna, Austria
1/16/77-3/31/77
FOR; FRONTIER Al^IERICA: THE FAR WEST
EXHIBITION, INDIANS AND SETTLERS IN
THE AI4ERICAN VJEST, continuing exhibition
circulated by The Museum of Fine Arts,
Boston, since January 1975
FEMALE TORSO, black TO; Tlie San Francisco Museum of Modern
granite sculpture by Art, San Francisco
Beniamino Benvenuto Bufano Sept, 3-Nov. 21, 1976
(1898-1970) AND: The National Collection of Fine
Arts, Smithsonian Institution,
V/ashington, D.C., May 20-Sept. 11, 1977
FOR; PAINTING AND SCULPTURE IN CALIF-^
ORTJIA, THE MODEPl^ ERA
ON THE RIVER MEUSE,
oil painting by
Louis Eugene Boudin
(1824-1898)
SACRAMENTO VALLEY
IN SPRING, oil painting
Alfred Bierstadt
(1830-1902)
TO; The Santa Barbara Museum of Art
Santa Barbara, California
Oct, 9-Nov. 24, 1976
FOR; BOUDIN, PxRECURSOR OF D^IPRESSIONISM
TO; The Nev; Milv/aiikee Art Center, 1976
Milwaukee, V/isconsin, Oct. l4-Nov, 28,
FOR: FOREIGN BORN ARTISTS
LE PONT DE LA TOURNELLE, TO; Smith College Museum of Art, Mass.,
PAPJS, 1851, oil painting Oct, l4 - Dec, 5» 1976
AND: Sterling and Francine Clark Art
Institute, Williamstown, Mass,
Dec. 17, 1976 - Feb. 13, 1977
FOR; JONGKIND AND THE PRE-IMPRESSIONISTS;
PAINTERS OF THE ECOLE SAINT-SIMEON
STILL :UFE, 1778, oval
oil painting by
Anne Vallayer-Coster
(1744-1818)
TO; Los Angeles County Museum of Art,
Dec. 21, 1976-Mar. 13, 1977
AND; University Art Museum, Austin,
Texas, April 12- June 5, 1977
AND: Carnegie Institute, Pittsburgh, Pa,,
July 14-Sept. 4, 1977
AND; The Brooklyn Museum, New York,
Oct, 4-Nov, 27, 1977
FOR; WOITEN ARTISTS: 1550-1950
STARLINGS, CARAVANS, 1948 TO; Herbert F, Johnson Museum, Ithaca,
oil painting by New York, Jan. 26-Mar. 13, 1977
Kay Sage (I898-I963) AND: University of Maryland Art Gallery,
College Park, Md., April 5-May 15, 1977
AND: Albany Institute of History and Art,
New York, June 8- July 20, 1977
FOR: KAY SAGE EXHIBITION
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Loans FROM the Lef^ion of Honor (Continued)
1975*5.13 STANDING MDE, polished steel TO; University of California,
Mary Porter Sesnon Art Gallery,
Santa Cruz, California
Feb, 13-Mar. 13, 1977
FOR; MODERN SCULPTURE; EUROPEAN AITO
AMERICAN WORKS IN V/EST COAST
COLLECTIONS
sculpture by
Alexander Archipenko
(1887-1964)
1273.71 V/OMAN VriTR A CRAB, small
bronze sculpture by
Aristide Maillol (l86l-1944)
1973.5.19 DOE WITH LIFTED LEG, bronze
sculpture by
Elie Nadelman (1885-1946)
1974.11 HEAD OF A JEV/ISH BOY. l892
bronze sculp tujre by
Medardo Rosso (I858-I928)
54.2 THE GOOD MOTHER, or THE VIRGIN TO; The Taft Museum, Cincinnati, Ohio
V/ITH THE CHILD IN THE CRADLE, Mar. 24-May 8, 1977
AFTER REMBRANDT, painting by FOR: Their commemorative exhibition
Jean Honore Fragonard THE BEST OF FIFTY (Museums)
(1732-1806)
13 Theater & Dance Collection Sculptures;
T8cD1962.129 KARSAVINA, and *
T&DI962.I3O PAVLOVA AS GISELLE, and
T&DI962.I32 PAVLOVA IN BACCHANALE, and
T8J)1962.143 KARSAVINA IN PETROUCHKA, all
by Seraphin Soudbinine
T&DI962.I34 FANNY ELSSLER IN LE DIABLE
BOITEUX, by Jean Auguste
Barre
TO; California State University,
Fresno, California,
April 17 - May 8, 1977
FOR: FESTIVAL: A CELEBPJ^TION OF THE
ARTS AT THE BEGINNING OF THE CENTURY
THE SPIRIT OF ISilDORA DUNCAN / THE"
VISIOM OF SERGE DIAGHILBV
T8CDI962.I39 PAVLOVA 8c NOVIKOFF IN LA PERI.
1959.62 PAVLOVA & MORDKIN IN BACCHANALS,
1959.72 PAVLOVA IN LA GAVOTTE, all
by Malvina Hoffman ( 1887-1966 )
T8DI962.145 PAVLOVA SEATED. 1915. by Paul
Troubetzkoy (I866-I938)
T&DI962.I3O VIOLININE. by Paul de
Boulogne (d. 1938)
1959.75 PAVLOVA IN SWAN LAKE.
1959.76 NIJINSICY AS HARLEQUIN IN CARNAVAL,
1959.77 FOIgNE AS HARLEQUIN IN CygTAVAL,
all by Emanuel Rosales (l873-n.(i. )
Min. 53 AMERICAN PAINTINGS TRANSFERRED
from CALIFORNIA PALACE OF THE LEGION
OF HONOR
TO: M, H. de Yoxmg Memorial Museum,
May 1977
FOR: Consideration for Inclusion in
New American Galleries Installation
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Loans TO the California Palace of the Lepiion of Honor
3176 PORTRAIT OF ALT-IA SEVEIIING, painting by Louis Betts
loan offered as gift by Lawrence V/estdahl (became 1976o3)
32.76 LACEMAKER«S PILLOW, lent by Kaethe KLiot
33*76 LACEMKER’S PILLOV/^ lent by Gertrude Biermann
Lent for museimi lace collection esdhibition
3^*76 SLEEPING LIOMESS, painting by Eugene Delacroix
Extended loan by The San Francisco Museum of Modern Art
35*76 LE PONT DU CHATOUT, painting by Mauii.ce Vlaminck
Lent anonymously to the French paintings reinstallation
36.76 VIEW OF THE COLOSSEUM, ROME, painting by Antonio Canaletto
Anonymous loan, declined for purchase
37*76 ST. JEROME IN I-HS STUDY, painting by Claude Vignon
Anonymous loan, which became a gift (1976.6)
38*76 LA SOURCE, bronze sculpture by Edme Bouchardon
Anonymous loan, which became a gift (1976.8)
39*76 DEUX FEMMES EN CONFIDENCE* pastel by EcF. Aman-Jean
Anonymous loan, which became a gift (1976.8)
40.76 HARMONY IN GREEN AND PINK, painting by James A. V/histler
Anonymous loan, declined for purchase
41.76.1 CHRIST APPEARING TO SAINT PETER, Flemish l6th Cen. Tapestry
Lent by Grace Cathedral for exhibition and extended loan
41.76.2 VIRGIN’S I^ANTLE. Polish l8th Cen. Tapestry Cape
Lent by the Metropolitan Museum of Art
41.76.3 ST. PAUL/PLAUTILLA’S VEIL. Franco-Ilemish late 15th Cen. Tapestry
Lent by The Museum of Fine Arts, Boston
41.76.4 THE RESURRECTION TAPESTRY, REDEMPTION SERIES, 1510, Flemish Tapestry
Lent by The Art Institute of Chicago
41.76.5 MAY AND JULY, FROM THE MORTLAKE MONTHS, l8th Cen. Tapestry
Lent by Mr, and Mrs, Fred Kohlenberg
41.76.6 GREAT WING. American Tapestry by Mark Adams
Lent by Mr, Cyril Magnin
41.76.7 ECCE HOMO, flemish 15th Cen, Tapestry
Lent by the University Art Museum, Berkeley
To ”Five Centuries of Tapestry Exhibition"
42.76 UPSET, painting by Joseph Decker
Loan offered as Gift by Alfred Frankenstein (became 77*7)
43.76. CAROUSEL ANIMALS. Lent by Maurice Fraley for "A is for Animal"
1-3
44.76 SKETCH FOR A TAPESTRY, drawing lent by Ihrs. Anna Bennett
To "Five Centuries of Tapestry Exhibition"
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^5.76.1-72
4^?.76,1-37
47.76.1- 2
48.76.1- 31
49.76.1- 16
50.76.1- 2
51.76.1- 8
52.76.1- 17
53.76.1- 24
54.76.1- 57
55.76.1- 10
56.76.1- 5
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60.76.1- 25
61.76.1- 2
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63.76.1- 7
64.76.1- 21
65.76.1- 5
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69.76
70.76.1- 2
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72.76
73.76.1- 2
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76.76
77.76
(1977 Loans
1.77
2.77
4.77
5.77
GROUPS OF ANIMAL TOYS & AHTIFACTS, as numbered at left were lent
to the "A is for Animal” exhibition by the following Lenders,
(from California, unless otherwise indicated):
Museum of New Mexico, Folk Art Division, Santa Fe
Lowie Museum of Anthropology, Berkeley
David Mather, Santa Fe, New Mexico
The Oakland Museum, Oakland, Calif,
Ward ICimball, San Gabriel, Calif.
Charles Gast, Sonoma, Calif,
Fill Pearson, San Francisco, Calif.
Elsa Cameron, San Francisco, Calif.
George Gerhard, San Francisco, Calif.
NOAII«S ARK (I), George Cody, Palo Alto
National Gallery of Art, Index of Design, V/ashington, D.C.
Bob Gross, Lafayette
R, E, Lewis, San Rafael
Japan Airlines, San Francisco
Ruth Chriss, Palo Alto
Elsa Cameron, San Francisco
Marshall Roath, San Francisco
Katherine Rossbach, Berkeley
Imogen and John Gieling, San Francisco
Jean Johnson, San Francisco
Tony Galarza, San Francisco
Susan Hoy, Susan's Storeroom, San Anselmo
Shelley Dowell, San Francisco
Susan Harrison, Forest Knolls
NOAH'S ARK (ll), George Cody, Palo Alto
Ian McKibbin Vihite, Ross
Museujn of the City of New York, New York
DENTZEL REINDEER, Maurice Fraley, Berkeley
Museum of New Mexico, History Division, Santa Fe
JAPANESE CLOCKl'/OPvK BIRD, John Wilson, San Francisco
John V/ilson, San Francisco
VIEVif OF TIVOLI, painting by Gaspard Dughet
Anonymous loan, declined for purchase
HEROIC LANDSCAPE, painting by Gaspard Dughet
Anonymous loan declined for purchase
IN to Legion;)
PASTURES NEli/, painting by Farny
Anonymous loan, for one-day viewing
PORTRAITS OF THE COUNT AIR> COUNTESS OF RANCHICOURT
Pair of paintings by Theodore Chasseriau
Anonymous loans, declined for purchase
MARINE SCENE, American 1913 Tapestry - Herter loom
Anonymous loan, which became a gift (77.5)
PORTRAIT OF J, B, COLBERT, painting by P. de Champaigne
Anonymous extended loan
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Loans TO The Legion of Honor (Continued)
6.77 COFFEE LUCE, painting by John Sloan
Anonymous loan
7.77.1 A MAREIAGE CONTRACT, oil painting, by Jean Baptiste Greuze
7.77.2 PORTRAIT OF THE DUC D» ORLEANS, drawing
7.77.3 SEPTIMUS SEVERUS REPROACHING CARACALLA, oil painting
Lent by the Musee du Louvre to the Greuze Exhibition
8.77.1 PORTRAIT OF AN OLD WOMAN, Private Collection, Paris
8.77.2 SEATED MAN HOLDING A BOOK, Mus6e Lyonnais
8.77.3 SEATED OLD V/OMAN hUTH HANDS CLASPED, Musee Lyonnais
8.77.^ SEATED MAIE NUDE, Bibliotheque Nationale, Paris
8.77.3 PORTPJO:T of Joseph, Mus6e du Louvre, Paris
8,77.6 STUDY OF LALIVE DE JULLY, V/allraf Collection, London
8.77o7 GENOESE V/OMAN SELLING FLOliJERS, Museum Boymans-van Beuningen, Rotte
8.77.8 PEASANT WOMAN OF PARMA, Museum Boyraans-van Beuningen
8.77.10 INDOLENCE, Wadsworth AtheneiM, Hartford, Conn,
8.77.11 STUDY FOR SEATED MAN TUNING A GUITAR, Bibliotheque Nationale
8.77.12 THE FOWLER, Museum Narodwe, V/arsaw, Poland
8.77.13 OLD V/OMAN WITH ARMS OUTSTRETCHED, McCrindle, New York
8.77.16 PORmiT OF ABBE GOUGENOT, Musee de Dijon
8.77.17 PORTRAIT OF GEORGE GOUGENOT, Musee Royaux, Brussels
8.77.18 MADAIiE DE GOUGENOT, New Orleans Museum of Art
8.77.19 PORTRAIT OF ABRAHAM DE ROQUENCOURT, Wildenstein, New York
8.77.20 PORTRAIT OF MLLE, COURTEILLE, Brunswick, Germany
8.77.21 PORTPvAIT OF MARQUISE DE BESONS, Baltimore Museum of Art
8.77.23 silence; LE REPOS, Collection of the Queen, London
8.77.24 YOUNG SHEPHERD WITH FLOVffilR, Petit Palais, Paris
8.77.25 DPvAVJING AFTER RUBENS, V/olf Collection, New York
8.77.28 THE IMPROPER PROPOSAL, Collection Stralem, New York
8.77.29 THE SURPRISED HOUSEKEEPER, Musee Grobet-Labadie , fferseilles
8.77.30 STUDY FOR A MARRIAGE CONTRACT, Petit Palais, Paris
8.77.31 HEAD OF AN OLD t-lAN, STUDY, Yale University Art Gallery, New Haven
8.77.32 HEAD OF A GIRL, STUDY, Private Collection, New York
8.77.33 YOUNG MAN STANDING, STUDY, Art Institute, Chicago
8.77.35 PORTRAIT OF V/ATELET, Private Collection, Paris
8.77.36 PORTRAIT OF THE ARTIST, Ashmolean Museum, Oxford
8.77.37 PORTPJIIT OF THE BISHOP OF MACON, Musee Municipal, Macon, France
8.77.40 PORTMIT OF CHEVALIER DAMERY, Private Collection, Boston
8.77.41 DEPARTURE FOR THE IfflT NURSE, Norton Simon, Los Angeles
8.77.42 RETURN FROM THE ITST NURSE, Norton Simon, Los Angeles
8.77.43 THE MOTEIEELY REPR.IMAND, Clark Art Institute, Williamstown
8.77.46 SEATED ELDERLY WOMAN, Musee du Louvre, Paris
8.77.47 SEATED FEMALE FIGUPI], Wadsworth Atheneum, Hartford
8.77.48 THE UNGRATEFUL SON, Musee des Beaux-Arts, Lille
8.77.49 THE PUNISHED SON, MusSe des Beaux-Arts, Lille
8.77.50 PORTRAIT OF DENIS DIDEROT, The Morgan Library, New York
8.77.51 DEATH OF A GOOD FATHER, Private Collection, Strasbourg
8,77,32 DEATH OF A CRUEL FATHER, Musee Greuze, Tournus
8.77.54 THE DEPARTURE OF A YOUNG SAVOYARD, Amsterdam Museum
8.77.55 CHILD PLAYING VJITH A DOG, Private Collection, Ixjndon
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RECAPITULATION OF ITEIiS ILINDLED BY THE OFFICE OF THE REGISTI^AR
CALIFOPJ'ttA PAL.ACE OF THE LEGION OF HONOR MSEUM - Fiscal Year 1976-1977
(Not including those accessioned by the Achenbach Foundation for Graphic Arts)
IN
OUT
TOTAL
Additions to the Permanent
Collections
l8l
--
l8l
Collection Objects Loaned
to Borrov;ers
12
25
37
Temporary Exhibition Loans
to the Museum
938
1132
2070
Possible Acquisition Loans
to the Museum
21
13
34
Extended & liiscellaneous Loans to the Museum
32
276 .
308
TOTAL NUMBER OF ART OBJECTS IN MOVE£-IEI\fT
PROCESSED BY THE PJDGISTPJIR; RECEIVED,
EXAMINED, DESCRIBED, PJIGISTSRED, PJICEIPTED,
PxECORDED, INSUPJID, DELIVERED & FORV/ARDED IN
SHIPMENT
1184
1446
2630
PERI^ANENT COLLECTION PHOTOGRAPH ORDERS
Ordered, Labeled, Invoiced & Forwarded
No. of
Orders
No. of
Photographs
July-Deceraber
1976
15
19
J anuar y- June
1977
28
TOTALS:
43
61
- 75 -
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Loans TO the Legion of Honor (Continued)
8.77.57
8.77.58
8.77.59
8.77.60
8.77.61
8.77.62
8.77.63
8.77.6^
8.77.66
8.77.67
8.77.71
8.77.72
8.77.73
8.77.7^
8.77.76
8.77.78
8.77.79
8.77.80
8.77.83
8.77.85
8.77.86
8.77.89
8.77.90
8.77.91
8.77.92
8.77.93
8.77.9^
8.77.95
8.77.97
8.77.98
8.77.100
8.77.102
8.77.103
8.77.104
8,77.10^
8.77.107
8.77.108
8.77.109
8.77.110
8.77.112
8.77.113
8.77.11^
LOT AKD HIS DAUGHTERS, Private Collection, Strasbourg
FEMALE NUDE STUDY, Ins ti tut Neerlandais, Paris
SEATED FEMALE NUDE, Fogg Musetun of Art, Cambridge
CIMON AND PEPvO, Musee du Louvre, Paris
SEATED V/OMAN V/ITH BOOK, STUDY, Musle Greuze, Tournus
STUDY FOR SOPHHONIE. Staatliche Kunsthalle, Karlsruhe
KN.EELING YODTH, STUDY, Fogg Museum of Art, Cambridge
FEMALE ITUDE, Private Collection, Paris
TES FUNEPAL OF PATROCLUS, Private Collection, Paris
STUDIES OF HEADS AFTEP MTIQUE MEDALS, Musee T.yon
GREUZE & HIS MOTHER, fevate Collectd.on, Paris
WOMAN Vi/ITH A SPANIEL, Mus^e d' Angers, Angers
THE DREAMER, Wildenstein and Co. , New York
MADAME DU BAP^RY, V/ildenstein and Co. , New York
WOMAN V/ITH HAI'IDS CLASPED, MusSe des Beaujc-Arts, Dijon
THE LOVE LETTER, Collection Wolf, New York
the PvETURN of the young hunter, Mnneapolis Institute of Ai-ts
THE RETURN OF THE OUTLAW, Wadsworth Atheneum, Hai'tfoi-d
HEAD^ of a BOYV CoilectTon Megret, PaadLs
HEAD OF A MAn\ Private Collection, Baltimore
embrace, study, Institut Neerlandais, Paris
THE BOAT OF HAPPINESS, Museum Boyraans, Rotterdam
THE BOAT OF IC^FORTUNE, Mus6e Greuze, Tournus
THE WHITE HAT, Boston Museimi of Fine Arts
MAI^ STANDING ~V/ITH ARM UPRAISED, British Museum, London
TVJO HANTS, STUDY, Yale University Art Gallery, Nex^ Haven
THE DRUNKEN COBBLER, Portland Art Museum
iPORTRAlT' OF ARTIST, Mus^e du Louvre, Paris
~^C0'NCILIA^0t'l,~ Ri'oenix Art Museum, Arizona
the lECOMPENBE R^TJSED, British Museum, London
INNOCET'fCE CAREEET OFF BY CUPID, MusSe du Louvre, Paris
portrait of baron l^lALCidj^AIIR, " Collection Walckenaer Family
portent of JEANNE-PEEllBERTE LEDOUX, Semans Collection, N, C.
PORTRAIT OF A WO^IAN AS CALLISTOV Delacorte Collection, Nex^^ York
C0I4TESSS MOLUIIi AS A CHIID Baltimore Museum of Art
PORTRAIT OF BILLAHD^VaRENNE, Dallas Museum of Fine Arts
MONSIEUR DE SOMBREUIL AS PRISOi^IER OF THE REVOLUTION,
Private Collection, Paris
PORTRAIT OF NAPOLEON BONAPARTE, Collection Fabius, Paris
ST, MARY OF EGYPT liCCTH A SKULL, Musle des Beaux- Arts, Dijon
THE DEPARTURE TOR THE HUNT, MusSe du Louvre
ST. I4ARY OF EGYPT, dirysler Museum, Norfolk, Va.
PORTRAIT OF THE ARTIST, Musle des Beaux Arts, Marseille
Lent by the Wadsworth Atheneum to the Greuze Exhibition
9.77 LA PARTIE QUARREE, painting by Watteau
Anonymous loan which became a gift (1977.8)
10.77 PROPOSED MOI^IENT FOR ELLIS ISLAND-FRAI'IK^TER
D^raxd.ng by Claus Oldenberg ('POth Century)
Lent from Private Los Angeles Collection to the
American Watercolors & DraxvLngs Exhibition
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Loans TO the Lep:ion of Plonor (Continued)
11.77
12„77.
1-265
13.77
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14.77.3
14.77.5
14.77.2
14.77.4
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16.77
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20.77
21.77
22.77
23.77
24.77
25.77
unnumbered
26.77
27.77
CHELSEA SHOP, drawing by James A, VJhistler
Lent by The Art Institute of Chicago to the
American V/atercolors & Drawings Esdiibition
265 American Watercolors and Drawings
Exhibition organized by American Federation of the Arts, NYC
85 Assorted Handprinted & Published Works of Calligraphy
on paper by Frie^ich Neugebauer (b, ISll/ Kojetein, l^Iahren,
Geixnany). Lent for "The Art of Calligraphy” ExOiibition
THE BROKEN EGGS, oil painting by Jean Baptiste Greuze (Cat. 9)
HEAD OF AN ELDERLY WOMAN, red chalk drawing (Cat, 27)
RIVER GOD, STUDY D drav/ing (Cat. 56)
AEGINA VISITED BY JUPITER, oil painting (Cat. 65)
THE ANGRY WOMAN, drawing (Cat. 96)
ANACREON IN HIS Op AGE CROVJNED BY LOVE, drawing. Straus
Collection (101)
Lent by the Metropolitan Museum of Art, and the Straus Collection
to the Greuze Exhibition
LANDSCAPE, painting by Moreau the Elder (l740-l8o6) French
Anonymous loan, which became a gift (1977.7)
V/OMAN 8t CHILD FEEDING \7ATER FOIJL, painting by Claude Monet
STREET SCENE, painting by Maurice Utrillo
ORCTIARD AT PONTOISE, painting by Paul CSzanne
PORTRAIT OF A WOMAN, x^ainting by Eugene Speicher
DRAVilNG OF A WOMAN, dra\o.ng by John Singer Sargent
DRAVi/ING OF VEIDECE, by Francesco Guardi
RIO MAGDALENA, painting by Frederic E, Church
DRAWING OF A CHI^IESE GIRL, by Eugene E, Speicher
MOTHER AI'ID CHILD, drypoint by Mary Cassatt
PING PONG PLAYERS, painting by Milton Avery
Lent from a Private Collection
8 PAINTINGS & DRAVJINGS
Lent from a Life Estate Gift Collection
JACOB *S LADDER, Tapestry Fragment after B, van Orley
Anonymous loan, offered to collection (became 77. l4)
MARKET SCENE VHTR STILL LIFE, painting by Strozzi (l58l-l684)
Anonymous loan, declined for purchase
THE SEINE AT ARGENTEUIL, l875, painting by Claude Monet
Extended Loan from the San Francisco Museum of Modern Art
28.77
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Unntunbered
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30.77
31.77
32.77
33.77
3^.77.
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3 FLENCH PAINTINGS
Iient from a Private Collection
NUDE STUDY FOR THE DPJDSSED BALLET DMCER, bronze sculpture
by Edgar Degas^ (1^34-1917) » Ft'ench
Extended Loan from William M, Roth
CUPID & VENUS AT VULCAN »S FORGE, painting by LeSueur
Anonymous loan, which became a gift (1977.10)
YELLOV/ CALLA LILY, 1927, painting by Georgia O'Keeffe
Anonyraoiis loan
TROMPE L'OEIL, painting by Louis-Leopold Boilly
Anonymous loan
AUTOMTE CLOCK, l6th Century German
Loan by Yale University Art GaJ.lery to
"The Triumph of Humanism" Exhibition
h DOCUMENTS FROM A FAIgLY COLLECTION
3 hand lettered Certificates of Award, il’amed
1 City of San Francisco Resolution of Honorary Citizenship,
Lent from the Private Collection of a Museum Donor
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APPENDIX IV
DEPAROIIENT OF PUBLIC PROGRAJ^IS
1, T\A/ilight Concerts by the San Francisco Qiamber Orchestra
(May 13, 1976)
(May 30, 1976)
July 29, 1976
August 3, 1976
— previous fiscal yeeir but
part of 1976 stunmer season
May 29, 1977
2* Exhibition Related Programs
As We Were, As We Are - Educational Programs
October 9, 1976 —
October I6, 1976 —
October 23, 1976 —
October 30, 1976 —
November 6, 1976 —
November 13, 1976 -
November 20, 1976 -
November 27, 1976 -
December 4, 1976 —
December 11, 1976 -
December I8, 1976 -
December 19, 1976 -
January 8, 1977 —
January 13, 1977 —
Opening Day Celebration
Lecture/Discussion/Slide Presentation
Debate/Panel Discussion
Panel Discussion
Dialogue
Lecture/Slide Presentation
Lecture/Slide Presentation
Panel Discussion
Lecture/Panel Discussion
Lecture
City V/alking Tour
City V/alking Toiur
Lecture/Slide Presentation
Lecture/Slide Presentation
As V/e Vfere, As V/e Are - Film Series
October 17, 1976
October 24, 1976
October 31, 1976
November 7, 1976
November l4, 1976
November 21, 1976
November 28, 1976
December 5, 1976
December 12, 1976
December 19, 1976
January 9, 1977
January I6, 1977
January 23, 1977
““ "San Francisco"
— "The Maltese Falcon"
— "It Came From Beneath the Sea"
— "Bullitt"
— "Greed"
— "Old San Francisco"
— "Dark Passage"
— "Barbary Coast"
— "Frisco Jenny"
— "Gentleman Jim"
— "Experiment in Terror"
— "The Conversation"
— "Petulia"
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DEPARTMENT OF PUBLIC PROGRAMS (Continued)
Exhibition Related Programs (Continued)
Five Centuries of Tapestry — Performing Arts Series
November 20,
November 21,
November 27,
November 28,
December k,
December
December 11,
December 12,
December l8,
December 1$,
January 1$,
January l6,
January 22,
January 23,
1976 — Double performances by Amici Musicae
1976 — Double performance by Aiiiici Musicae
1976 — Lute concert in the galleries
1976 — UC Davis Early Music Ensemble
1976 — Harmonice Musices
1976 — Harmonice Musices
1976 — Double performance by SF Actors Ensemble
1976 — . Double performance by SF Actors Ensemble
1976 — . Double performance by SF Actors Ensemble
1976 -- Double performance by SF Actors Ensemble
1977 — Martha Cook, harpsichordist
1977 — Martha Cook, harpsichordist
1977 — Baroque flute and harpsichord concert
1977 Baroque flute and harpsichord concert
Five Centuries of Tapestry ~ International Symposium
Saturday and Sunday, November 20 and 21, 1977
Masterpieces of Primitive Art - Educational Programs
March 27, 1977
April 3, 1977
April 10, 1977
April 17, 1977
April 2k, 1977
May 1, 1977
May 8, 1977
May 15, 1977
May 22, 1977
May 29, 1977
June 5, 1977
Opening Day Celebration
films on Africa
films on Oceania
films on the Americas
films on the Americas
films on Africa
films on the Americas
films on the Americas
films on Oceania
films on Oceania
films on Africa
Jean Baptiste Greuze ~ lecture
March 5, 1977 — Lecture by Edgar Munhall
American Drawings and V/atercolors -- lectures
April 2, 1977 Lecture by Donelson Hoopes
April 9, 1977 — Lectures by Donelson Hoopes and George Fitch
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DEPARTMENT OF PUBLIC PROGRAMS (Continued)
Pecos Bill, The Clown and The Parking Meter
The Parasites and Passinp; Shots
3. Bay Area Playwrights Festival
October 9, 1976 — The Meter Beggar and The String Gatherer
October 10, 1976
October l6, 1976
October 17, 1976
October 23, 1976
October 2^, 1976
October 30, 1976 —
October 31, 1976 —
November 6, 1976 —
November 7, 1976 —
November 13,1976 — " ”
November 14,1976 — • ” ”
November 10, 1976 — Special show of Passing Shots for Jxmior League
4, Childrens’ Programs
Young Audiences of the Bay Area, Inc.
February 3, 1977 — The Pyramids
February 12, 1977 — Oakland Ensemble Theater
February 19, 1977 — Robert Murphy Street Dance Company
February 26, 1977 v*- G, S. Sachdev’s Music of India
March 3, 1977 — - Bay Area Brass Quintet
March 12, 1977 — Magic Carpet Play Company
March 19, 1977 — Acme Woodwind Quintet
March 26, 1977 Silver String Macdenoia Band
San Francisco Attic 'Theater
April 2, 1977
April 9, 1977
April 16, 1977
April 23, 1977
April 30, 1977
May 7, 1977
Itay 14, 1977
May 21, 1977
"Alice Through the Looking Glass"
"The Roar of the Grespaint, the Smell of the Crowd"
"Peter Pan"
"Alice Through the Looking Glass"
"The Roar of the Greasepaint"
"Peter Pan"
"Alice Through the Looking Glass"
"Peter Pan"
Berkeley Stage Company
May 1, 1977 — Poetry Playhouse
3. Other Miscellaneous Programs
Center Stage for Music - talented student concerts
March 6, 1977
April 17, 1977
May 13, 1977
June 12, 1977
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DEP/^Tt4ENT OF PUBLIC PROC4PJUIS (Continued)
5. Other MiGcellaneous Programs (Continued)
Gid.tar Concert Series
January 30, 1977 — Vincenzo Macaluso
February 27, 1977 — Philip Rosheger
March 27, 1977 — George Sakellariou
Ax^ril 24, 1977 Pd chard Stover
San Francisco Opera Piccola
March 17, 1977 -- Hie. Boas? and Le Mari a la Porte
March 19, 1977 — • ” ”
March 26, 1977 — • ''
Violin Recitals
August 21, 1976 — Bruce Freifeld, violinist
August 22, 1976 — Bruce Freifeld, violinist
Orchestra Concert
December 3, 1976 — Reno (Nevada) Clirmiber Orchestra
Avant-Garde Theater
April 1, 1977
Vocal Recital
June 6, 1977 — Vahan Toolajian, Bass
Rock Opera
May 20, 1977 ■— He Taro, a light opera by the Sufi Choir
May 21, 1977 ”
May 22, 1977 ”
May 27, 1977
Ifey 28, 1977 ”
May 29, 1977 "
June 3, 1977 ”
June 4, 1977 ”
June 3, 1977 ”
June 10,1977 "
June 11,1977 ”
- 82 -
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APPEI'fDIX V
Board of Trustees - Delores C, Malone, Director
Resig^iation Board President
Ransom M, Cook
Election Board President
V/alter S, Nevmian
Re-election of Trustees
I-Irs. Edward T. Harrison
Mrs, Robert A, Magowan
lies, V/illiam Pe Roth
Mr, Harold L, Zellerbach
Mr, R, Gvnn FoUis
Trustees Elected
Dr, V/alter Horn
Mr, John H, Jacobs
Mr, John Lov/ell Jones
Death of Trustee
11-3-76
11-3-76
11-3-76
11->76
11-3-76
6-9-77
Mr, Charles de Young Thieriot 3-21-77
Personnel Changes
Marie S, Jensen retired . as Executive Secretary after l8 years service
at the Museums, 6-30-76, She was replaced on 7-1-76 by Delores C, Malone,
Royal A, Basich retired as Exhibition Designer after 30 years service at
the Legion of Honor,
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I, ACTIVITIES SUPPORTED V.'HOLLY OR IN PART BY THE MUSEU14 SOCIETY
A, Exhibitions
1* American Art; An Exliibition from the Collection of Mr. and Mrs,
John D, Rockefeller 5rd; April 17 ~ August 15, 1976: de Young
Museum. Initially reported in 1975-76 i^nntial Report.
2. America Observed (Walter Evans photographs and Edward Hopper
etchings): September 4 - October 24, 1976: Legion of Honor.
3# As V/e Were, As V/e Are: A Century of San Francisco Life in Archi-
tecture: October 9, 1976 •- January 30, 1977: de Young Museum.
4, David Lance Goines: Posters 1968-1976: October 30, 1976 -
January 9, 1977: Legion of Honor.
5, five Centuries of Tapestry: November 20, 1976 - January 30, 1977:
Legion of Honor.
6, "The History of Jacob’’ Tapestries: November 20, 1976 - January
30, 1977: Legion of Honor.
7« American Master Drawings and Watercolors: Vtorics on Paper from
Colonial Times to the Present; February 19 - April 17, 1977:
Legion of Honor.
8, The Flute and the Brush: February 26 - April 10, 1977: Legion of
Honor,
9* Jean-Baptiste Greuze 1725-l805: March 5 - May 1, 1977: Legion of
Honor.
10, Masterpieces of Primitive Art; March 19 - Jime 19, 1977:
de Young Museum,
11, The Museimi Society and an outside donor provided funds for the
reinstllation of the Museums* permanent collections of classical
art from ancient Egypt, Greece and Rome in a completely renovated
gallery at the de Young Museum,
B, Exhibition Programming
1. In conjunction \fLth As V/e Were, As We Are, a public celebration
on October 9, 1976, a film series, and 13 lectures/discussions/
tours were financed by gifts from several outside donors, with
some funding assistance from the Society,
- 84 -
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2. International Tapestry Symposium, held in conjunction v/ith the
Tapestry e3diibitions at the Legion of Honor: November 20-21, 1976,
Thirteen tapestry experts from the United States and abroad pre-
sented papers on the art, science and history of tapestries,
"Medium and Material": Mrs, C,M, Thurman (Art Institute of Chicago)
and Dr, Harold Lundgren (Univ, of California, Davis),
"Conservation and Design": Miss Nobuko Kajitani (Metropolitan
Museum) and Mr, Mark Adams (San Francisco).
"Tai^estries of the Late Middle Ages": Dr, L, Masschelein-ICLeiner
(Institute Royal du Patriomine Artis tique, Brussels) and Mr, Larry
Salmon (Museum of Fine Arts, Boston).
"Tapestries of the l6th and 17th Centuries": M, Guy Delmarcel
(MusSes Royaux d'Art et d*Histoire, Brussels) and Mme Madeleine
Jarry (Mobilier National and Gobelins, Paris).
"Tapestries of the 17th and l8th Centuries": M. Bertrand Jestaz
(Musee du Louvre, Paris) and Miss Edith Standen (Metropolitan Mus,)
3. In conjunction vd.th the Tapestry exhibitions, a series of
musical programs was held in the Legion of Honor galleries on
weekend afternoons from Nov, 20, 1976 through Jan, 23, 1977.
In conjunction with Masterpieces of Primitive Art, a series of
20 films examining primitive cultures in Africa, Oceania and the
Americas was presented on Sunday afternoons at the de Young Museum.
C, Performing Arts
1, V/eekend Performing Arts, A contimiing series of v/eekend programs
of music, dance, drama and poetry readings was presented on week-
end afternoons at the de Yotmg and Legion of Ilonor.
2, Summer Twilight Concerts. Three early evening concerts by the San
Francisco Chamber Orchestra, with Edgar J, Braun conducting, v/ere
held at the Legion of Honor on July 29 & Aug, 3? 1976 and May 29,
1977.
3, Museum Theater. Six plays by six local playi'/rights were produced
in the Little Theater at the Legion of Honor during the Bay Area
Playwrights Festival in October and November 1976.
D, Lectures
1, Edgar Munhall, Curator of the Frick Collection, New York, on
"Greuze Anew: A Rediscovered l8th Century Artist": March 3j 1977.
2, Donelson F, Hoopes, Visiting Curator, Dept, of Painting and
Sculpture, on "The Watercolors of V/inslow Homer": April 2, 1977.
3, Donelson F, Hoopes on "The Watercolors of John Singer Sargent":
April 9, 1977.
83 -
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Publications
America Observed; Edward Hopper/V/alker Evans, a catalogue compiled
by Robert Flynn Johnson to accompany the exhibition of Edward
Hopper etchings and photographs by V/alker Evans*
2. Five Centuries of Tapestry from The Fine Arts Tluseums of San Fran-
cisco by Anna G, Bennett, a catalogue to accompany the Tapestry
exhibition.
Members^ Events
1* Champagne Evening at the San Francisco Museum of Modern Art in
honor of the exhibition The "VJild Beasts’*; Fauvism and Its
Affinities: July 12, 1976/ ^-9 p*m, ^^s, Alan S. Robinson, Chairmai'
2, Members* receptions in connection with the Tapestry exhibitions at
the Legion of Honor: November 22 and 23j 1976, 6-9 p.m, ; Mrs.
Joachim Bechtle and Mrs, John G, Bowes, Co-chairmen.
3, Family Holiday Party for members and their children at the de Young
Museum: December 12, 1976, 6-9 p*m.; Mrs, V/illiam V/aste and lirs,
Richard Love of the Museum Society Auxiliary were Co-chairmen.
4, Champagne Evenings in honor of the American Watercolor and Greuze
exhibitions at the Legion of Honor: March 7 ^-nd 8, 1977* 6-9 p,m, :
Mrs, John N, Callander and Mrs, Robert Patton, Co-chairmen,
Special Events (non-member)
1, Reception and dinner to celebrate the opening of the Tapestry ex-
hibitions at the Legion of Honor: November 19} 1976: reception,
6-8 p.m,: dinner, 8 p.m. Reception Co-chairmen: Mrs. Joachim
Bechtle and lirs, John G, Bowes: Dinner Chairman, Mrs, James K,
McV/illiaras,
2, Buffet dinner for Tapestry Symposium panelists at Mark Adams’
firehouse: November 21, 1976, 7 p.m,: W, Scott Martin, Chairman.
3. Private reception in honor of the American Vfetercolor exhibition
at the Legion of Honor: February 24, 1977} 5:30-7:30 p.m,:
Co-chairmen: Mrs, V/, Robert Phillips and Mrs. James K. McWilliams.
Co-sponsored by the Bay Area Graphic Arts Council.
4. Dinner and reception for the Association of Art Museiim Directors,
May 25 and 28, 1977} at the Legion of Honor and de Young Museum
respectively.
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H. Travel
1, ’’Splendours of the Orient/* October 17 - November l8, 1976,
A tour through Japan, Korea, Thailand, Sri Lanka and Singapore,
led by William D, Y, V/u, a member of the Museum Society Board.
17 participants.
2, East Coast Art Tour, October 15-25, 197<o, ivith visits to museums
and private collections in Philadelphia, Baltimore and V/ashington,
D,C., led by Ian McKibbin Itiite, 17 participants.
3* "Splendours of Vienna and Eastern Europe.” May 19 - June 13, 1977,
a tour through Austria, Hungary, Romania, the TJ.S.S.R, and
Czechoslovakia. 8 participants.
EXPENDITURES ON BEHALF OF THE MUSEUMS
Director’s 1976-77 Contingency Fund: ^27,000
1976-77 appropriation for the Asian Art Museum: 1^16,000
de Young Museum Art School: Scholarship program: ^j2,500
Trip-out Truck: 13,000
Art Apprenticeship program: 1,000
Downtov/n Center exhibition: 1,000
Downto\m Center workshops: 465
Downtovm Center Paper show
lecture: 150
sU8",115
Exhibitions; 1J2l4,827
Education : 75 , 151
Installation of American Galleries: Professional services
of Ronald Egherman, Thomas
Seligman, Donelson Hoopes and
Stan Reifel: $32,110
Supplies, etc.: 68,776
aborts
Plant care at de Yoimg Museum: $460
Re-installation of French galleries at Legion; $l8,552
New lighting, Galleries 15, 17, l8, 19 at Legion: $16,577
Renovation, Galleries, A and B at de Young: $751
Entertainment expenses for the Association of Art Museum Directors,
May 25 and 28, 1977”. $4,821
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The salaries of the follo\cing Fine Arts Musetims staff memhers were
funded by the Society in 1976-77 i
Joanne Backman, Administrative Assistant,
James Baldocchi, Theater Manager, effective October 1, 1976.
Kathleen Berrin, Assistant Curator, Dept, of Africa, Oceania and
the Americas.
Michael Cox, Exliibitions Manager, effective October 1, 1976.
Renee Beller Dreyfus, Assistant Cinrator, Education and Interpretation,
effective February l6, 1977*
Edward T, Engle, Jr,, Publications Manager (part-time)
Ron Rick, Graphic Designer,
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APPENDIX VII
REVENUE AND EXPENDITUPvE STATEMENT
Museums Admission Fund
July 1, 1976 through June 30, 1977
Revenues:
July 1976
34,534.93
August
34,094.85
September
20,502.30
25,694,70
October
November
25,894.85
December
25,379.05
January 1977
33,918.08
February
19,263.11
March
23,904,71
April
23,296.50
May
21,046.25
June 1977
23,023.90
Total Revenue for the period
310,553,23
Deduct: Actual expenditures (see schedule belov/)
53,415.96
Revenues in excess of expenditures
257,137.27
Deduct: Pursuant to Ordinance No. 488-75 > 30% to
the City and Coimty of San Francisco
128,568,63
Balance due to Museums (The Fine Arts Museioms
of San Francisco Fund.)
128,568,64
Actual Expenditures for Fiscal Year 1976 - 1977
Expenditures, per Controller's Statement, Jime 30, 1977
6. 621 0 116. 010. 000 - permanent salaries 35jl51.19
6.621.112.010.000 - holiday pay 1,113.^7
6.621.1204010.000 - temporary saiaries 1,249.80
6.621.200.010.000 - contractual services 4,748,98
6.621.300.010.000 - materials and supplies 850,94
Mandatory Fringe Benefits, per Payrolls
Social Security 1,660.27
Retirement System 5,228.99
Health Service 539.65
Prior Year's Appropriation, Expenditures this year
5.621.200.001.000 - contractual services 2,562.21
5. 621 0 400.001. 000 - equipment 330,46
Actual expenditures for the period 33 j 415,96
- 89 ~
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APPENDIX .VIII
Grants Awarded for Fiscal Tear 1976-77
Grants and Programs
Period of Support
Amount Av/arded
R6O-2O-32
Triumph of Hui^ianisra
I'lEA: Museujn Program
9/1/76-12/31/77
^^20,130
T-70-20-70.f
/vmerican Galleries Installation
Utilization of Collections
NEA: Museum Program
11/1/76-10/31/77
30,000
R70-20-212
Conservation Master Apprentice
NEA: Museum Program
Vl/77-3/31/78
11,000
R6O-2O-493
De Young Art School
Video Film Project
I'lEA: Museum Program
7/1/76-9/30/77
10,110
Grants Av/arded for Programs Beginning Prior to Fiscal Year 1976-77
A40-20-89
French Drawings Catalogue
NEA: Museum Program
6A/74-I2/3I/77
20,000
765-0238
French Drawings Catalogue
Ford Foundation
3/25/76-12/31/77
19,460
A40-20-331
Rodin Sculpture Catalogue
NEA: Museum Program
6A/74-I2/3I/77
^20,000
765-0234
Rodin Sculpture Catalogue
Ford Foundation
3/25/76-I2AI/77
19,923
R50-20-271B
3/1/76-12/31/76
3,000
Security Roll-dovm Doors
IffiA: Museum Program
- 90 -
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:r^:-;- •J.M
Lin. l'. vr;r '. lo r''-^: I
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., ;Ai'’
rc;:..r:o.:' r-rA v.r-'jo!" oC‘
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= "if' • ’ A;^ !
:■ ■.^":70‘::AI i'ij-i
:vSO<^V
j:oif''-c;-/::;fc^ ’■iot
:. ■Y.'.-. '’ "
•J"
: i Jj.ci
’.".'iArfiio';' IrYr"?
cc'Oji :A7\7r-\7.r-.7v\r-.x
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Grants and Programs
Period of Support Amount Av/arded
R30-20-93
Flemish Paintings Catalogue
NEA: Museum Program
1/1/76-6/30/77
i:520,000
R60-20-371B
de Young Renovation
NEA| Museum Program
1/1/76-6/30/77
159,030
Rockefeller Interns
Rockefeller Foimdation
de Young Art School
1976-1978
180,000
Conservation Laboratory Equipment
Cowell Foundation
25,000
Conservation Equipment
Packard Foundation
3,000
Roral Funds ^^471 , 4l3
Grants Av;arded Beginning After
Fisccil Year 1976-77
San Francisco Foundation
Dovmtown Art Center
7A/77-6/30/77
23,000
Bo thin Helping Fund
Downtovm Art Center
3,000
Fleishhacker Foundation
Dovmtoim Art Center
NEA: Expansion Arts Program
Do\^mtown Art Center
7/1/77-6/30/77
2,300
3,000
Skaggs Foundation
Triumph of Humanism Exhibit
3,000
California Arts Council
Playv/rights Festival
1/1/78-12/31/78
3,000
Total Funds ^^5,300
17 Active Grants Total F\mds
S568,135
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Grants Pending
Grants and Prograiiis
Period of Support Requested
Amount Requested
Art of the Huichol fbchibit
NEA: Museum Program
10/1/77-6/30/78
20,000
French Paintings Catalogue
NEA: Museum Program
10/1/77-9/30/79
30,000
Conservation Apprentice
Decorative Arts
NEA: Museum Program
4/1/78-3/31/79
10,000
Museum Education
de Young /irts School
ItEA: Museum Program
7/1/77-9/30/78
29,730
Trip Out Trucks
de Young Art School
MEA: Museum Program
7/1/77-6/30/78
17,000
Climate Control Renovation
NEA: Museum Program
1/1/78-12/31/79
112,608
Total $219,358
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THE FINE ARTS MUSEUMS OF SAN FRANCISCO
SUMMARY OF ACTIVITIES
FOR THE
FISCAL YEAR 1977-1978
i
THE FINE ARTS MUSEUMS OF SAN FRANCISCO
SUMMARY OF ACTIVITIES FOR THE FISCAL YEAR 1977-1978
What follows is a summary of activities of the Fine Arts Museiims of
San Francisco for fiscal year 1977-1978. A more comprehensive review
is forthcoming with the FAMSF Annual Report, which will be pubished
in several months.
Contents , Page
Department of Africa, Oceania & Americas 1
Department of Decorative Arts & Sculpture 2
Textiles 2
American Decorative Arts 3
American Galleries 3
Department of Paintings 3
Achenbach Foundation 4
Department of Exhibitions 5
Registrars ' 5
Library 5
Publications 6
l^ucation Division 6
Public Programs 6
Art School 7
Docent Council 9
Department of Interpretation 10
Volunteer Council 10
Administration 10
Museum Society 11
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Africa, Oceania & Americas
The Department of Africa, Oceania, and the Americas focused its at-
tention on three major areas: enriching its collections, presenting
exhibitions, and publishing.
A number of fine new pieces were acquired this year, many by Depart-
ment Curator Thomas K. Seligman on the Museum Society Trip to Melanesia
in the summer of 1977. A Washkuk female ancestor figure, two Tambanum
Ancestral Masks, and five Mud Masks from New Guinea are amongst these
recent acquisitions. Mr. Andy Williams donated his collection of fifty
Navajo rugs and blankets, and the North American Indian collections
further developed with fourteen Northwest Coast Indian Baskets, a
beaded 0 j ibway Pouch, and a Northern style Portrait Mask actually carved
in the gallery by artists Tony and Calvin Hunt. The African Collection
also grew; a Dan Female Mask and a Beggar Figure were among many
other highlights this year.
Form and Freedom: Indian Art of the Northwest Coast (CPLH: March 25-
May 29 , 1978) was the primary exhibition effort. Baskets, boxes, combs
and masks were among the one hundred and two works of art dating from
the late 18th century to 1930. The exhibition was organized by Rice
University's Institute for the Arts, in cooperation with the Metro-
politan Museum, and was drawn from the collections of the de Menil
Family and the de Menil Family Foundation. Photographs, a film about
the Northwest Coast Culture, carving demonstrations, and a lecture
enhanced the exhibition.
In early 1978 the African section of the Department's permanent gallery
was entirely re-installed to accomodate the many recent gifts to the
Museums. The Department's photography program, designed to document
the cultures of Africa, Oceania, and the Americas, continued with two
exhibitions Photographs of Bopieo (de. Young: Nov. 11-Feb. 12) , and
Photographs of Southwest Ethiopia (de Young: Feb. 12-May 14) .' Finally,
a large portion of the Williams textiles were moved to the Art School's
Downtown Center, and Mother Earth, a selection of large ceramic pots
from the Museums' collection (April 1-July 7) was moved to the Downtown
Center .
The Department is now preparing a large exhibition of Huichol Indian
Art to be on view in San Francisco from November 4th through March 4th,
1979. Approximately one hundred and fifty objects were borrowed from
Museums and private collections across the country. In connection with
this exhibition the Museums are co-publishing a comprehensive catalogue
of Huichol Art with Harry N. Abrams. The catalogue, which will be over
two hundred pages, will feature illustrations of the exhibition objects
and essays focusing on approaches to the art.
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Finally, Gallery Interpretive Sheets, guiding the visitor through the
AOA collections, were published, and the textile collections were
thoroughly organized and carefully stored.
Dept, of Decorative Arts and Sculpture
Graeme Keith retired as Curator- in-Charge after nearly twenty years
of invaluable service, and was succeeded by Michael Conforti, who
arrived in November, 1977. At that time, the Department was in the
midst of exhibitions which would consume its energies throughout the
coming year. A stunning exhibition of Renaissance objects, organized
by Mr. Keith and entitled The Triumph of Humanism (CPLH: Oct. 22-
Jan. 8, 1977) featured two hundred and titty objects from the Renais-
sance, and included programs of dance, literature, music, and lectures.
A comprehensive catalogue accompanied the ejdiibition, documenting the
objects and exploring the exhibition through scholarly essays.
The Treasures of Early Irish Art (de Young: Feb. 21-May 21, 1978) was
a landmark exhibition of seventy national treasures from the Republic
of Ireland, and came to San Francisco after opening in New York. Legen-
dary masterpieces such as the Book of Kells, Tara Brooch, and Brian’s
Harp drew crowds totalling approximately 200,000, greater than the at-
tendance at the Metropolotan Museum months earlier.
The Department also organized a small exhibition of Continental Por-
celain from the Permanent Collection and finished the year with English
Silver irom the Untermyer Collection (CPLH: June 29-Aug. 20, 1978) .
The staff is now working towards the massive exhibition from the German
Democratic Republic, The Splendor of Dresden: Five Hundred Years of Art
Collecting . which will fill the Legion in February, 1979, and The Trea-
sures of Tutankhamun, coming to the de Young in June of 1979.
Despite this demanding schedule of exhibitions, the Department managed
to acquire a number of important works. An early 19th century Secre-
taire and a large equestrian figure of Charles III of Spain from the
Italian Baroque were notable additions.
The Department of Decorative Arts and Sculpture encompasses furniture,
sculpture, ceramics, and a wide variety of objects d* art ; within this
broad spectrum are two important divisions: Textiles, under the cura-
torship of Anna Bennett, and American Decorative Arts, under the direc-
tion of Donald Stover.
Textiles
The Textiles Division conserves and presents the Museums' ever-expand-
ing collection of tapestries, costumes and their accessories, rugs,
and textile pieces. The emphasis in 1977-78 was on costumes: the Cura-
tor, a conservator, and ten interns and volunteers began moving each
piece to new storage facilities, carefully packing the collection, photo-
graphing it (in order to minimize future needless handling of the ma-
terial) , and cataloguing it. This painstaking task is still in progress.
(2)
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The blossoming of interest in costumes also resulted in the exhibition
A Century of Brides (de Young: July 22-Sept. 24, 1978) which presented
twenty-one wedding gowns and twelve cases of accessories from 1826
through the 1920s. This exhibition introduced the public to the Mu-
seums' little known collections and is the first in a series of similar
exhibitions .
As the collections are becoming more widely known, increasing numbers
of students are using the Museums as a study aid: college classes
from as far away as Tennessee have visited the Textile laboratories
for slide lectures on costumes, discussions, and selected samplingsof
actual material.
Meanwhile, a travelling version of Five Centuries of Tapestry, which
gathered many of the Museums ' choice tapestries, was circulated to
other museums across the country.
American Decorative Arts
American Decorative Arts is a new division within the Department, re-
presenting the Museums' commitment to American Art. In its first year
the division has begun the organization, evaluation, documentation, and
expansion of the collection. Twelve new objects were acquired, includ-
ing an important silver tankard by the patriot. and master silversmith
Paul Revere.
American Galleries
The Museums ' commitment to American Art was reaffirmed with the opening
on July 4th, 1977, of the American Galleries, a suite of eleven gal-
leries which integrate American painting, sculpture, costumes, furni-
ture, and decorative arts from the colonial period to the present. In
January of 1978 came the announcement of the intention of Mr. and Mrs.
John D. Rockefeller, 3rd to donate their exceptional collection of
American Painting to the Fine Arts Museums. San Francisco is on its
way to becoming one of the foremost centers of American Art in the na-
tion.
Department of Paintings
The American Galleries occupied much of the attention of the Depart-
ment of Paintings this year, along with the complete rehanging of the
European paintings collection, excluding the French School. As a re-
sult, five hundred works of art have found new homes throughout the Mu-
seums .
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In addition to the munificent Rockefeller bequest, the collections
were enriched by a number of Italian works , including a seventeenth
century masterpiece by Strozzi, Market Scene with Still Life. Also
in the Italian School, Giovanni Battista Pittoni's Descent Trom the
Cross , a gift from the Mildred Anna Williams Fund, brings to the Mu-
seums our first representation of religious art in the eighteenth
century. Other rare additions to the collections included The Story
of Brutus and Portia, by Jacopo del Sellaio, and a superb landscape
from the seventeenth century in France by Gaspard Dughet.
Two major exhibitions were also sponsored: Russian and Soviet Paint-
ings (de Young: Aug. 6-Oct.9, 1977) and In Celebration of Loie Fuller
(CPLH: Dec. 10, 1977- March 26, 1978). The first exhibition featured
one hundred and twenty-five works of Russian art from the twelfth cen-
tury to the present; Loie Fuller combined paintings, drawings, sculp-
ture, and costumes to honor the renowned tum-of-the-century dancer.
Achenbach Foundation for the Graphic Arts
The Achenbach Foundation, which serves as the Museums' Department of
Prints and Drawings, houses the largest collection of graphics in the
Western United States. In March of this year Fenton Kastner retired
after thirteen and one-half years of conscientious service as Curator,
and was honored in May of 1978 with an exhibition entitled A Tribute
to Fenton Kastner (CPLH: May 15-July 31, 1978), which presented signi-
ficant purchases made during his years as Curator-in-Charge .
Under the direction of Robert Flynn Johnson, fourteen drawings and
thirty-five prints were selected for purchase this year, including
drawings by Hokusai and Toulouse Lautrec, and prints by Frankenthaler
and many other masters • Much of the collection's growth sprang from
the generosity of a number of donors, who presented forty-three draw-
ings and two hundred and ninety prints .
The Department was responsible for seventeen exhibitions throughout
the year. Most exhibitions drew primarily upon the resources of the
Foundation, and ranged from North European engravings to Indian minia-
tures .
The use of the Achenbach as a teaching resource for the community is
a prime responsibility. Classes of art historians, artists, and grad-
uate students have met with the staff for seminars and private viewings
of the collections.
The Graphic Arts Council doubled its membership this year under strong
leadership and sponsored the Graphic Arts Council Members' Exhibition
(January 19-March 5, 1978) during the winter.
(4)
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Department of Exhibitions
The Department of Exhibitions was involved in the planning, coordina-
tion, and mounting of twenty-three exhibitions, with an additional
five shows installed at the Downtown Center. Many of these are des-
cribed in the individual departmental summaries. Two of these, Russian
and Soviet Painting and Treasures of Early Irish Art were major inter-
national exhibitions, absorbing much of the staff's energies and time.
Two more international exhibitions. The Splendor of Dresden: Five
Hundred Years of Art Collecting and Treasures of Tut ankhamun will be
shown at the Legion of Honor and the de Young Museiim respectively,
in the coming year. In preparation for these two major exhibits, both
buildings are under construction with major capital improvements. New
flooring, roofing, lighting, climate control, and moveable walls are
being installed in the temporary exhibition galleries at the de Young.
A similar climate control system is being installed at the Legion.
These improvements will not only accomodate these particular exhibi-
tions, but will also enhance the Museums' ability to attract future shows.
Registrars
The Registrars act as custodians of all art objects owned and borrowed
by the Museums. Each piece must be documented, and its physical, legal,
and insurance protection assured. The permanent collection alone num-
bers nearly sixty thousand works, while the volume of temporary objects
processed in 1977-78 numbered around six thousand.
Previously the Registrar at- each building functioned independently;
this year steps were made to consolidate the two Registrars into a
single team. The method of record-keeping was made uniform, and a cen-
tralized system for ordering photographs was established. The Registrars
also worked together in de-accessioning a large group of furniture.
A new policy was instituted which periodically reassigned each staff
from one Museum to the other, so that each Registrar will be familiar
with both operations . The result is that they will be able to concen-
trate efforts at whichever building is busier, such as during the up-
coming large international exhibitions. An Assistant Registrar posi-
tion was added by the Museum Society to facilitate this interchange.
We note with regret and respect the passing of Frederick Snowden who
served ably for six years and nine months as Registrar of the de Young
Museum.
Library
The Library is housed in the de Young Museum and contains twenty
thousand volumes, plus numerous sales and auction catalogues and bound
periodicals .
(5)
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It is available to the public by appointment, and the library staff
answers hundreds of reference questions by telephone and mail each
year. In the first half of 1978, two professional librarians managed
the facility. This was later reorganized to consist of one librarian,
assisted by three part-time volunteers. A total of eight hundred
and eleven books were added to the collection. Nearly sixty periodi-
cals are currently received. Moreover, an exchange program of museum
catalogues sent nearly two hundred copies to participating museums
and libraries.
Publications
The Publications Department, funded by the Museum Society, is respon-
sible for all aspects of the Museums' publishing program, from com-
pletion of the manuscript through the bound book and its distribution.
This year has seen the completion of three new volumes: The Triumph
of Humanism in October of 1977; Rodin's Sculpture and Four Centuries
of French Drawings in March of 1978 .
A number of projects are nearing completion: Art of the Huichol is
on schedule for completion in September of 19781 The Arts of tTie
Tapestry Symposium, which will be completed in fall of 1978, will be
a useful companion piece to Five Centuries of Tapestry (published in
November 1976) . The Fine Arts Museums are also collaborating with
Apollo Magazine to produce two issues of the magazine devoted to FAMSF.
This publication is scheduled for early 1979.
Three scheduled projects have been changed: French Paintings has been
postponed for a year; A Tribute to Walter Heil is undergoing a change
of format; and Flemish Paintings will become part of a larger catalogue
of European paintings in the collections.
Education Division
Public Programs, the de Young Museum Art School, Docents, Volunteer
Council, and the Department of Interpretation all fall under the
Education Division. Each group's activities are reviewed here separately.
Public Programs
The Department of Public Programs provided educational support,
enhancement, and amplification of the exhibition program for the
Museums. This was accomplished through lectures, demonstrations, and
concerts which compliment the visual arts. The attendance for events
produced soared to over thirty-four thousand in 1977-1978.
(6)
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Over one thousand people attended a three day symposium on Early
Irish Art and Culture. Similar programs surrounded Russian and Soviet
Painting and The Triumph of Humanism, and a dance exhibition accompanied
In Celebration of Loie Fuller.
Relationships with Bay Area performing groups were renewed and expanded
in 1978. For the second season the Fine Arts Museums worked together
with the Recreation and Park Department and the San Francisco Guitar
Society to produce a series of concerts in the Museums' theatre and
auditorium. The San Francisco Attic Theater worked once again with the
Museums, this time to produce three separate runs of several different
productions. The San Francisco Chamber Orchestra once again drew
overflow crowds and critical acclaim for its Twilight Concerts series ,
presented in the Little Theater of the Legion. A new fall/winter series,
"Sunday Strings" grew from this success, and presented recitals by
orchestra members on Sunday afternoons.
The Little Theater was also the site for the Second Bay Area Playwrights
Festival in April and May of 1978. Growing from the first Festival in
1976 , it presented world premieres of five plays by regional and national
authors .
Finally, the fifty-year tradition of organ concerts each Saturday and
SLinday at the Legion continued under the able musicianship of organists
Ludwig Altman and Newton Pashley.
Art School
Another major aspect of the Education Division is the de Young Museum
Art School, which conducts four programs: 1) The Museum Art School
housed in the de Young, 2) the Trip-Out Trucks, 3) The Downtown Center,
and 4) the Internship Program.
1. THE DE YOUNG MUSEUM ART SCHOOL is committed to providing low-cost
classes taught by professional artists to Bay Area residents. Over
one hundred classes, special workshops, and art-related field trips
are offered in four quarter semesters. The School is a non-profit
corporation and is entirely supported by students' fees.
Enrollment figures for 1977-1978
Summer 1977: weekly enrollment
(10 wk. session)
were :
909
Community and
School Groups
30
Fall 1977 : weekly enrollment
(12 wk session)
962
80
Winter 1978: weekly enrollment
(12 wk session)
895
120
Spring 1978: weekly enrollment
(11 wk. session)
954
45
(7)
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In addition to the regular class program, a summer intern program for
teenagers, funded by the NEA Expansion Arts Program, allowed eight teen-
agers to assist with childrens' classes and to serve as apprentices
to teachers at the Art School.
2. THE TRIP-OUT TRUCKS visit school classrooms four times each year
in an effort to integrate art into the school curriculum (through
studio-art classes, lectures, and demonstrations) and to initiate the
teacher to using the Museums as an educational resource. This year the
Trip-Out-Trucks visited one hundred and one schools, or eight hundred
and eight classrooms, which totalled twenty-eight thousand, two hun-
dred and forty participating students. Also, eight childcare centers
and four community centers (translating to eleven hundred and sixty
children total) were visited. The trucks also visited nine special
events around San Francisco, and in so doing came in contact with nearly
fifteen thousand people.
Funding for 1977-1978 was as follows:
City & County of SF $ 500.00
CETA salaries, SF 32,000.00
Museum Society 15 , 000 . 00
TOTAL $47,500.00
3. THE DOWNTOWN CENTER, established in 1976, is a branch gallery of
the Museums located in the downtown business district. During the
year the Center held six major exhibitions with supporting programs
directed towards artists, school grounds, and importantly, the business
community. An estimated forty-eight thousand people visited these
exhibitions; nine thousand, eight hundred and ninety participated in
lectures and demonstrations, and an additional eighteen thousand
children visited the Center for special tours and programs. The Center
is open five days a week, Tuesday through Saturday, 11 am to 6 pm. ,
and is moving from 651 Howard Street to more convenient quarters at
Three Embarcadero Center.
Funding for 1977-1978 was as follows:
Operating Costs and Exhibitions:
Museum Foundation
$16,000
Museum Society
10,000
SF Foundation
25,000
Fleishhacker Foundation
2,500
Bothin Helping Fund
5,000
Lurie Foundation
5,000
Special Education & School Programs :
NEA
8,000
TOTAL
$71,500
(8)
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4. THE MUSEUM INTERNSHIP PROGRAM selected six fellows from the
Western United States to work and study at the Museums. Funded by
the NEA and the Rockefeller Foundation, the program assists the Mu-
seums in achieving national visibility for its education programs,
and helps other museums initiate programs for their communities.
In the summer and fall of 1977, and spring of 1978, the following
people were selected: Kathy Zimmerer, Israel Alcantar, William
Sandoval, Randy Holladay, John Sierra, and Michael Milligan.
Docent Council
A Docent is a selected and trained volunteer, who conducts tours of the
Museums' permanent collections and special exhibitions. Aside from
the regular series of tours in the Africa, Oceania and Americas and
Western Areas, the Docents conduct a School Program and tours for the
deaf and the visually handicapped. The Docents are also active in the
Asian Art Museum. Of the three hundred and nine active Docents, thirty-
four successfully completed their qualifications this past year for the
Africa, Oceania and Americas galleries, and thirty-one for the Western
Areas .
Statistics for tours and attendance for 1977-1978:
Western Collections Tours Given Visitors
General, American
& Special • 1,655 36,084
School 510 4,278
2TT65 40 ;3'6'(T
Africa, Oceania & Americas
General & Special 489 4,663
School 277 1,242
5,905
(Each of these figures represents a substantial increase over
the 1976-1977 statistics) .
The Deaf Program has also been widely attended, with a total of sixty-
five tours given to one thousand and fifty-six visitors in both the AAM
and the Fine Arts Museums ; the Visually Handicapped Program conducted
fifty-three tours to one thousand, five hundred and thirty-eight visi-
tors .
(9)
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The Docent Tours are one of the responsibilities of the Department of
Interpretation, which develops labels, wall panels, brochures , audio-
visual presentations and other means of enhancing the visitor's museum
experience. Curriculum pamphlets and teachers' workshops have been
produced, self-guided tours developed, and gallery sheets prepared.
With the Museums' growing concern for the special needs of disabled vi-
sitors, several programs were offered and others are being planned for
the coming year. The Department designed an exhibition of photographs
of the late nineteenth century deaf photographer Theophilus Hope d'
Estrella, accompanied by a brochure about the artist, and printed by
the students of the California School for the Deaf.
Volunteer Council
Volunteers are an important ingredient in the successful implementa-
tion of the Museums' many programs. For special exhibitions they
served as membership information specialists, sold tickets, catalogues,
and posters, and helped to host members' receptions. Throughout the
year volunteers provided assistance to Museum staff, worked in the
bookshop and information desks , and performed a variety of valuable
services. This year two hundred and sixty-six volunteers contributed
over thirty-five thousand hours of their time. At current City pay
rates, this contribution represents a minimum of $215,000 in services
to the public. Two new programs were begun: Museum Surveillance at
the Legion side door and Information Volunteers in the galleries of
the de Young.
Administration
The Museums experienced a 197o increase in attendance over the last
fiscal year, with 616,000 visitors to the de Young building and
187,466 to the Legion of Honor, for a total of 803,566. This repre-
sents a partial recovery toward the 1,000,000 annual level attained
before admission fees were instituted in 1975, when the Museums suf-
fered a 37% drop in attendance. Total admission revenue collected
for 1977-1978 was $358,461.
Plans for access ramps for the handicapped and for installation of
heating, ventilating, and air-conditioning systems at both buildings
were developed in preparation for the two international exhibitions
in 1979. (see page 5).
The Museums have added several administrative and curatorial staff
members with temporary private funding to handle logistics and plan-
ning for these exhibitions. On the permanent staff there is a lack
of clerical support and security personnel, which becomes more criti-
cal each year. The permanent guard force of thirty-three is augmented
by nineteen CETA guards ; five CETA clerical workers aided the permanent
clerical staff of four.
(10)
During the fiscal year 1977-78, the Fine Arts Museums Foundation
applied for and received the following grants from NEA:
$ 20,000 for the exhibition Art of the Huichol
20.000 for a catalogue of the French paintings collection.
10.000 for support of a master apprentice intern in decora-
tive arts conservation.
5,000 for purchase of works of a living American artist
for the Achenbach Foundation.
The Fine Arts Museums Foundation also received grants from the
following agencies :
$ 25,000 from the San Francisco Foundation.
10.000 from the Hears t Foundation.
150,000 from the Irwin Charity Foundation.
5,000 from the California Arts Council.
50.000 from the Merrill Trust.
The Foundation also applied for an NEA Challenge Grant of $1,000,000,
pending decision in October 1978.
Museum Society
The Museum Society serves as the membership organization for the Mu-
seioms. It maintains a paid membership of 30,904, and supported, in
whole or in part, a variety -of Museum activities in 1977-1978:
Activities Quantity
Exhibitions 8
Exhibition programs 7
Performing arts series 6
Lecture series 2
Publications 3
Special events 8
Travel tours 5
FAMSF staff salaries 12
The Museum Society also maintains an auxiliary in San Francisco with
ninety-four active members and forty-one sustaining members. This
group sponsored the Treasure Hunt Auction in March, which netted
$176,869 for the Museums, and co-sponsored several other events. Three
suburban auxiliaries were maintained in Belvedere-Tiburon , Hillsborough,
and Ross.
(11)
The Graphic Arts Council (see page 5) sponsored an exhibition, lecture
series, and receptions, and purchased an eighteenth century Indian
miniature for the Achenbach Foundation.
The Museum Society is also responsible for the Volunteer Council, serves
as the financial guarantor of the Docent Council, and sponsors the two
Museum bookshops along with the Salvage Shop in San Francisco. Special
shops were operated for The Triumph of Humanism and Treasures of Early
Irish Art, and the Society contracted the catering of Museum cafeterias.
The following is a breakdown of Museum Society expenditures on behalf
of the FAMSF:
1 . Exhibitions
Tutankhamun
Dresden
Annual Exhibitions
$ 97,569
16,227
401,004
2 . Education
Programs
Lectures
Irish Art Symposium
Other
$ 47,646
8,520
16,596
18,260
3 . de Young Museum Art School:
Scholarship Program
Trip-out trucks
Art Apprentice Program
Downtown Center
Community Programs
$ 2,500
15.000
1,000
10.000
11,165
4. Gallery Re-Installation
Permanent Collection
American Galleries
$ 41,126
26,180
5 . Administration Costs
FAM Contingency fund
Indirect Costs & equipment
Private receptions
Museum staff
Publications
$ 25,500
11,619
4,509
116,422
72,746
(12)
THE FINE ARTS MUSEUMS OF SAN FRANCISOD
SUMMARY OF ACTIVITIES
FOR THE
FISCAL YEAR 1978-1979
DOCUMENTS DEPT.
NOV 2 0 1979
SAN FRANCISCO
PUBLIC LIBRARY
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THE FINE ARTS MUSEUMS OF SAN FRANCISCO
SUMMARY OF ACTIVITIES FOR THE FISCAL YEAR 1978-79
What follows is a sunmary of activities of The Fine Arts Moseums of San
Francisco for fiscal year 1978-79. A more conprehensive review is forth-
coming with the FAMSF Annual Report, \^hich will be published in several
months.
Contents Page
Department of Africa, Oceania and the Americas 1
Department of Decorative Arts and Sculpture 2
Textiles 2
American Galleries , 3
Department of Paintings 3
Achenbach Foundation for Graphic Arts 5
Department of Exhibitions 6
Registration 6
Library 7
Publications 7
Public Programs 8
Art School ; 8
Docent Council 10
Interpretation 11
Volunteer Council 11
Administration 12
Miseum Society 13
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Africa, Oceania and the Americas
The Department of Africa, Oceania and the Americas had a very active and pro-
ductive ye^ in the areas of collections , exhibitions , publications , related
projects and future planning.
In the area of collections and acquisitions, the planning, legal work and ne-
gotiations got under way for a substantial donation of wall paintings from
Mexico. This involved cataloging and uncrating, photographing, storing and
researching the collection with aid from outside consultants . ^ Iirportant
acquisitions for the Africa, Oceanic and Pre-Columbian collections continued
as did a steacfy stream of donations frcm Bay Area collectors. A complete con-
servation report and assessment was performed on the City's collections, both
those in storage and on permanent display.
Exhibitions included "The Art of Being Hiiichol", a major e^diibition of over
200 objects \diich was originated by tdie Museums and traveled to Chicago and
New York after its initial showing in San Francisco; "Mother Earth: A Sele-
ction of Ceramic Containers From the Permanent Collections"; "Scrimshaw":
"Photographs of Southern Ethiopia"; "Photographs of Micronesia"; and a display
of Navajo blankets frcm the Museums collection. Plans for a major reinstallation
of the permanent collectico in the Gallery of Africa, Oceania and the Americas
were also instituted.
A major publication was produced by The Fine Arts Museums and co-piiblished with
Harry N. Abrams Inc. : Art of Huichol Indians (200 pp. ,over 100 b/w photographs
and 40 colorplates) . Forthccming articles on "Maori Art and Artistry", empha-
sizing the finest Maori pieces in the City's collections, and an article on
Islam and our African Tribal Mask were written for Apollo magazine. "The Art of
Being Huichol", an article explaining the development o£ the exhibition, was
written for Natural His to:^ Ifagazine. The Fine Arts Miseums were also repre-
sented at the annual meeting of the American- Association of Museums with a paper
presented on this exhibition.
Other projects completed this year were a docent training series on the art of
Oceania, reorganization of the storage areas and registration procedures, partic-
ipation in the Oakland Museum Wilcomb Grant Project, as well as participation
in a special project involving San Francisco Unified Schools and objects the
Museums have placed on long term loan for use in study kits in elementary schools.
Three major grants were written by the department and submitted to federal agencies.
Proposals included : AOA Conservator (IIB) , Aesthetics of Power : Secret Societies
on the Western Guinea Coast of Africa (NEH) vdiich was funded, and Teotihuacan
Morals Conservation Planning Grant (NEA) .
The year closed with plans proceeding on five public exhibitions and active
reinstallation of a major portion of the City's collections and educational
presentations in the permanent gallery of Africa, Oceania and the Americas, the
Introductory Gallery and Gallery H.
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Decorative Arts and Sculpture
The past year has been one of tremendous activity for this department. In
addition to 'working and continuing research on the permanent collection, we
have also devoted much time and energy to the two major exhibitions of this
year, "The Splendor of Dresden" (CPLH February - llay 31, 1979) and "The
Treasures of Tutankhaniun" (de Young May 31 - SeptGE±)er 30, 1979). In pre-
paring for 'Dresden", the CPLH had to be entirely de- installed and redesigned,
with its collection going either into storage or on loan to other museums.
Now that "Dresden" is over, we are in the process of reinstalling the Legion,
an exciting but difficult project. In conjunction with "Dresden", the depart-
ment organized a successful weekend seminar. The ''Tutankhamun'' e^^bition
also necessitated the de-installation of part of the de Young, and we are
currently preparing for reinstallation there as well as at the Legion. These
two major shows precluded any other large in-house exhibitions; however, the
Textile Department did organize several smaller ones which are mentioned
below.
During this hectic period, the department continued to make inportant acqui-
sitions such as George I brass inlaid majogany side table by the noted English
cabinetmaker, John Chamon, a Chinese export lacquer side chair of the Queen
Anne period, an early eighteenth-century Italian altar frontal embroidered in
gold, and a nineteenth-century terra-cotta bust of Diane by Flaguiere. We also
received several gifts from Mrs. Dorothy Spreckles Muam, including a French
Enpire mahogany and gilt bronze side board, c. 1810, a Paris porcelain orni-
thological dessert service, c. 1820, and a pair of Meissen vases, c. 1750.
The above activities and the necessary research involved, combined with the
day-to-day dealings with the public and with other museums, have made this a
very busy year in the department.
Textiles
This year marked the retirement of Anna Bennett as full-time Curator of
Textiles. As a result of the years of dedicated work put in by Mrs. Bennett
and her husband Ralph, the department has emerged as one of the finest in the
country. Mrs. Bennett is continuing to work in the department on an exhibition
and catalog of its eighteenth- century European fans. During the year, the de-
partment presented several shows: "A Century of Brides" and "Victorian Acces-
sories" (de Young, July 22 - September 24, 1978); "Persian Tribal Rugs Frcm the
Collection of H. McCoy- Jones" (de Young, June 1 - Septorber 30, 1979) and
"Tapestries: 15th - 20th Centuries" (Transamerica I^ramid, July 25 - September
10, 1979).
The department also made several loans for exhibitions in Utah and Virginia.
The permanent collection continues to expand with various gifts frcm Mrs .
Leslie Roos, Mrs. D.L. Wemple, and Mrs. A.F. Jostes. As with the other de-
partments in the museim, the textile department is very involved with the re-
installation of the Legion and in the past year, has been working on the con-
servation of many of the Mjseums' tapestries and tapes try- covered chairs.
(2)
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Wit±i its new storage facilities and large volunteer conservation staff, the
department is looking forward to another year of expansion and development.
American Galleries
Ihe American Galleries, now entering their third year, have become a center
for the study and enjoyment of American art. In addition to a large general
visitation, the galleries are increasingly being used by classes and student
groups from the Bay Area. These activities are sij^jplemented by gallery talks
lectures and regularly scheduled Docent tours.
The tenporary closing of the American Galleries, necessitated by construction
in adjacent areas, provided the opportunity for a major reinstallation of the
galleries. This reinstallation includes works not previously exhibited and
recent acquisitions to the collection, including a selection of works of art
from the bequest of Mr. John D. Rockefeller 3rd.
Department of Paintings
Rockefeller Bequest
Through thought and action the late John D. Rockefeller 3rd manifested his
desire to serve his fellow man. His benefactions towards the study of world
population growth and the . understanding of Asian cultures will long have an
impact on the world. Of imnediate inportance to us is the collection of
American art vdiich had been premised to San Francisco just months before his
tragic death and which his family presented to the Miseums. Long acknowledged
as the finest private collection of American art, this magnificent gift brings
San Francisco to the forefront as a center for the study of our national artistic
heritage. The gift augments the permanent collection with the work of forty-
three artists \dio previously had been unrepresented. At the same time, the works
of artists such as Eastman Johnson and Albert Bierstadt can now be studied in
depth through multiple examples . One nust also note the unusually high concen-
tration and quality of early American portraiture, outstanding contributions
in the areas of tronpe l*oeil painting, and individual masterpieces by artists
such as Bingh^, Anshutz, and Grant Wood. Mr. Rockefeller's challenge to us to
form a significant center for the study of American art is one that we will
meet with enthusiasm in the ceming years .
Acquisitions
Althou^ few in number - in part reflecting the depletion of funds in the Mildred
Anna Williams Trust - acquisitions have been of the greatest importance. The
opportunity to acquire a rare and beautiful marriage salver, Diana and Acteon;
Jj^tice , was realized by the San Francisco Foundation, which presented this
Florentine double-sided panel (ca. 1400) to the Roscoe and Margaret Oakes Col-
lection. Possibly by the Lazzaroni Master, an anonymous artist working in the
circle of Lorenzo di Nicolo Gerini, it is among the earliest and best preserved
salvers known today. Funds remaining in the Mildred Anna Williams Trust were
used to purchase the Jiiseums' most important French portrait, a masterpiece by
(3)
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Baron Gerard, La Cantesse de ^brel-Vinde and her Daughter Claire. Standing
two meters high, this work had been exhibited in the Salon of 1798 and had
remained with descendants of the sitter until coming to San Francisco. Of
equal iiipoitance to the French collections is the acquisition of George
Seurat's The Eiffel Tower. In its innovative technique and modem subject
matter, this work represents the apogee of Seurat's brief career. Signif-
icant gifts of landscape paintings joined the collections this year. A canvas
by Thomas Barker of Bath, a gift of Mrs. Alfred Ehrman, extends our under-
standing of late eighteenth-century English art. A work by Sanford Gifford
from Mr. and Lfrs. Will Richeson, Jr. adds to the Auierican Galleries a major
luminous painting. Harry William and Diane Vernon Hind's gift of two paintings,
one by Ernest Lawson and another by Albert Bierstadt, enhanced our growing
collection in these respective areas. For their continuing support and loans
of paintings, Peter and Jacqueline Hoefer, R. Lockwood Tower, Dr. Joseph Shaw, Mrs.
Jacob Kaplan, and Dr. William P. Jordan and two anonymous lenders receive our
warmest thanks.
Exhibitions and Loans
In preparation for "The Treasures of Tutankhamun'', the American paintings were
relocated on several occasions to insure their safety while the adjacent galleries
were renovated. Of greater inportance to the department was the preparation for
"The Splendor of Dresden". Since the French collections would not be available
during most of this report period, forty-five of our best paintings traveled to
Denver, New York, and Minneapolis with twenty- two drawings in the exhibition
"Ilasterpieces of French Art". Individual loans included our Le Nain Pedants
Before Their House to Paris for the major retrospective on the Le Nain family,
and Sargent's A Bottle of Claret and Whitsler's The Gold Scab to inportant
exhibitions .
Conservation
Iftider the supervision of Mrs. Teri Oikawa-Picante , our French paintings were
examined and prepared for traveling. At the same time, full attention was given
to the spectacular loans from Dresden. Work proceeded on the permanent collections
with major attention being given to our two inportant paintings by Boucher, now
returned to their original format; Largilliere's Portrait of the Marquis de
t^ntespan, David's Portrait of the Baroness Meuniir, and The Flagellation o^f
Christ by the Master of Kappenberg.
Staff and Research
The departmental files were reorganized by Marie Luise Huntington, Northern
European; Dorothy Kenper, English and American; Mary Small, Italian and Spanish;
Marion C. Stewart, French. With this inproved efficiency, information and docu-
mentation were made more readily available for the special numbers of Apollo
magazine devoted to the Mjseums' as well as for the continuing work on the
European paintings cataloges.
At the close of this report period we still have no information concerning the
Christmas eve theft of Rembrandt's Portrait of a Rabbi, Delorme's Interior of
the St. Lawrence Church, van der Velde's Harbor Scene or van der Neer's Moonlight
Scene.
(4)
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Achenbach Foundation for Graphic Arts
IMs year t±ie Achenbach Foundation for Graphic Arts' normal exhibition pro-
gram, with'-new exhibitions scheduled every two or three months, was severely
curtailed because of the Museums' comnitiiient to "Treasures of Tutanhkamum"
and "The Splendor of Dresden" exhibitions. Two exhibitions, the annual "Re-
cent Acquisitions" and "French 19th Century Drawings from the Permanent Col-
lection", were abruptly terminated viien an unforeseen emergency in the reno-
vation of the building closed the Legion more than a month ahead of schedule.
However, during the Dresden e>diibition the department organized two exhibitions
frcm the permanent collection designed to it: "European Drawings 1570-1800"
and "German Expressionist Prints and Drawings". At the de Young fLiseum, the
Achenbach Foundation for Graphic Arts was responsible for several small print
exhibitions: "Italian Renaissance Prints" and "Dutch I^Iamerist Prints" and, in
the American Galleries, "J. Alden Weir" and "Wbodengravings After Winslow Homer".
"Still Life: 20th Century American Prints, Drawings and Watercolors Frcm the
Achenbach Fomdation for Graphic Arts" was organized in May for the Downtown
Center. In the next two years, the Western Association of Art Museums will
circulate to eight institutions an exhibit of 61 prints entitled "Artists'
Portraits and Self Portraits". These works were selected from two larger
exhibitions on the same subject drawn frcm the permanent collection and ex-
hibited in the gallery at the Legion of Honor in 1976 and 1977.
Despite the curtailment of exhibitions, the Achenbach Foundation for Graphic
Arts has continued to be a teaching resource for classes, individual scholars,
and other visitors at nearly the usual rate. Loans to other institutions have,
if anything, increased over the past year.
Gifts and bequests of prints, drawings and posters have continued at a remark-
able rate, supplementing and enriching an acquisition program that continues to
strengthen the quality and diversity of the collection. A relatively quiet ex-
hibition schedule has allowed more time to research, catalog and mat these fine
acquisitions .
The dramatic rise of interest in the Graphic Arts Council has been of the utmost
inportance. A large nuriber of the greatly increased membership have attended a
variety of programs, such as lectures, round table discussions, and field trips.
Ihe Council has also presented several important works to the collection. The
board of the Graphic Arts Council, with Ifrs. Richard Lockwood Tower as its hard-
working and conscientious chairman, has provided both support and enthusiasm.
The library remains the responsibility of Brenda Palley and Martha McDaniel
under Jane Nelson's direction. Without the loyalty and efficiency of Cheryl
Faus and conservation technician Niccolo Caldararo, the department would not
function. In December, 1978 Maxine Ross ton was promoted to assistant curator.
When Aimee Troyen, formerly with the Yale Center for British Art, arrived in
June 1979, to assume her duties as assistant curator, the department was
brought to full strength for the first time since Fenton Kastner's retirement
in March, 1978.
(5)
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Department of Exhibitions
The Department of Exhibitions was responsible for the planning, coordinating
and mountii^ of eleven exhibitions, and two major reinstallations of the per-
manent collection. TWo of the temporary exhibitions, "The Splendor of Dresden:
Five Centuries of Art Collecting" and "The Treasures of Tutankhamun" , were among
the most inportant ever to be shewn in the United States.
In late 1978, the California Palace of the Legion of Honor was completely cleared
of the permanent collection to accomnodate the installation of a gallery climate
control system for "The Splendor of Dresden". Over seven hundred objects were
displayed from February 24 to June 3, 1979, setting a record for the largest
traveling esdiibition in this country, attracting a total attendance of 544,516.
The permanent collection will be reinstalled during the autum of 1979 and will
reflect a new interpretation of the Miseums' collections.
At the M.H. de Young Memorial Hiseim, approximately 10,000 square feet of tem-
porary exhibition gallery space were renovated, and a climate control system
was installed to acccoinodate "The Treasures of Tutankhamun" extiibition. On
display from June 1 to September 30 , 1979 , it drew a record-breaking attendance
of approximately 1,367,000, the largest ever for such an event in San Francisco.
Both of these exhibitions focused national attention on The Fine Arts Miseums of
San Francisco, causing mertbership in the Miseum Society to reach 78,000, the
largest such membership in the Ihited States. The capital improvements required
for each show (climate control systems , equipment purchase , renovated galleries ,
new roofing and lifting) will have future benefits for preserving the permanent
collection and will also increase the Museums' ability to attract exhibitions of
equal stature in the future.
Registration
A principal function of the Registration Department is to record and supply in-
formation about the over 60,000 works of art in the Museums' custody, as well as an
increasing volume of tenpDrary loans and object movements. This function en-
tails preparing complete documentation of every object along with maintaining
location control. The Registrars are also responsible for scheduling and super-
vising physical art object movement.
While registration duties used to be assigned according to building, the Regis-
trars have found that a more logical division of labor is to divide responsibili-
ties between permanent collection and temporary exhibitions. Cceprehensive
catalog information for the Moseums ' permanent collection is now housed at the
M.H. de Young Ifemorial Fiiseum Tdiile the California Palace of the Legion of Honor's
registration office holds comprehensive exhibition files for past and current
exhibitions. These reorganized records should be physically integrated into one
library system for staff and public information as soon as possible. Estimates
for microfilm and cenputerization have been obtained, and the department awaits
funding for this most urgent need.
(6)
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The two major ejdiibitions "The Splendor of Dresden" and "The Treasures of
Tutankhamun" were the main focus of the Registrars, for they involved the
transportation and registration of almost one thousand objects loaned to
the liiseums. The space they required displaced the permanent collection
so that adequate storage accomiodations became a prime concern.
In addition, The Fine Arts Museums organized and circulated two exhibitions:
"Masterpieces of French Art" and "The Art of Being Huichol". The regis-
tration responsibilities involved with these exhibitions were also h^dled
by the Registration Department. In addition, the department supervised the
transfer of the John D, Rockefeller 3rd gift of 109 American paintings from
New York to San Francisco.
Library
Ihe library of The Fine Arts Miseiins is located in the M.H. de Young Memorial
Museim. It contains twenty thousand volumes, plus numerous sales and auction
catalogs and hundreds of bound periodicals.
The library staff consists of one full-time librarian and four part-time
volunteers .
Last year the librarian answered over 500 reference questions frcoi the public,
by telephone and by letter. In 1978-79 300 volumes were purchased for the
Library, and 363 volumes were received as gifts or on exchange, to make a
total of 663 volumes added.
Eighty periodical titles are currently being received. Three catalogs :
Rodin Drawings, Four Centuries of French Drawings, and pie Triunph of Humanism,
were sent on exchange to 200 participating museiins and libraries .
Because of lack of staff, the library is open to Moseum staff members only.
Publications
During the fiscal year 1978-79, the Publications Department completed two
major volumes: Art of the Huichol Indians, co-published with Harry N. Abrams,
Inc. , in New York (November 1978) , and Acts of the Tapestry Symposium (June
1979). Additionally, the brochure Masterpieces of Fr^ch Art was pi±>lished to
acconpany the Museums' traveling exhibitim of paintings and drawings (December
1978) , and two brochures for use by the Development Office were produced (Ihe
Corporate Role and Your Investment in the Future of The Fine Arts Museuns of
San Francisco) .
Planning and production of the Museums' first published Biennial Report began
in late 1978, and work on the Apollo magazine issues devoted to The Fine Arts
Museums of San Francisco, originally scheduled for publication in early 1979
but postponed for a year, continued to be a major project.
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Along wit±i format planning for the French Paintings and European Paintings
(expanded from the original Flemish Paintings project) , arrangements for
publication of a catalog of fans and a theater and dance design catalog
began taking shape. Finally, first steps were taken toward the development
of a quarterly publication for The Miseum Society membership.
Public Programs
The Department of PL±)lic Programs has increased its education suppc)rt of
exhibitions, both permanent and tenporary, since last year. Synroosia,
lectures and an innovative concert program, plus special children's events
were among the programs offered vdiich were attended by 62,928 people. In
order to reach the conraunity more effectively and to extend the influence
of exhibitions, the department has presented concerts and lecture programs
at ccmnunity sites throughout San Francisco.
Art School
The M.H. de Young Memorial liiseum Art School is responsible for conducting
programs in public education and studio art techniques. It is a nationally
recognized imseum education program which also serves as a training ground
for young professionals who wish to pursue careers in museum education. The
department is staffed by two curators , CETTA personnel and museum interns .
In the fiscal year 1978-79, the Art School conducted four programs; 1. studio
art classes at the de Young Itiseum; 2. extension services to schools and com-
munity centers: the Trip-Out Trucks; 3. The Fine Arts Maseums of San Francisco
Downtown Center, a branch gallery in the business comnunity, and, 4. the in-
ternship program.
1. Art School
The de Young Museum Art School offers low cost studio art classes to Bay Area
residents. Classes are designed to relate to the Museums' collection and to
encourage patronage and understanding of traditional art forms and the art of
past cultures as well as contenporary art developments. Over one hundred
classes, special workshops and art-related field trips are offered in four
quarterly semesters. The school is a non-profit corporation and is sijqjported
by student fees. Several of the artists are hired through the Mayor's Office
of Employment and Training.
Enrollment figures for 1978-79 were:
Ccranunity and School Groins
Sumner 1978 (9 weeks)
1,082
80
Fall 1978 (12 weeks)
910
49
Winter 1979 (11 weeks) -
611
20
Spring 1979 (10 weeks)
591
35
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Art School Exhibitions :
A series of exhibitions designed for the cctnbination child/ adult viewer were
held at the Art School. Special tours and workshops for organized groups
were held in conjunction with the exhibits.
Work: Clothes (September - November) , contained over fifty uniforms , hats and
accessories from many varied occupations . Studio tours : 35
Space Place (January - February) , included many actual size and large scale
models frcm NASA and a private collection of many rare toy spaceships and
robots. Studio tours: 22
Children's Art From the Collection of Rhoda Kellogg (February - March) , a fore-
most authority and collector of children's art. Studio tours: 6
Introductions (April) , introduced works on paper by Anne Doering , Ann Rohney and
Kay Russell, ti^ee practicing artists on the staff of the Art School. Studio
tours: 9
Felt: Forms and Traditions (May) , was held in conjunction with A Weaver's Art
at the Downtown Center, ^e exhibition included a visual explanation of tech-
niques involved in feltmaking and work by contemporary feltmkcers . Studio tours :
McMillan (June - July) , an exhibition of the original drawings created since 1970
by illustrator Michael McMillan for the de Young Museum Art School/Downtown Center.
Studio tours: 10
2 . Trip-Out Trucks
The Trip-Out Trucks develop an art program in conjunction with the school curricu-
lum in an effort to integrate art into the daily learning routine of school children. .
The trucks are cannitted to training teachers as well as working with school-age
children. Trucks visit child care centers, public schools, senior centers, libraries,
public hospitals and comnunity centers. Each program involves two planning meetings,
four studio art sessions and an evaluation meeting (seven visits total to each par-
ticipant) . This year the program was commsnded by the State Department of Edu-
cation as an innovative eckicational program and received wide recognition throu^
David Rockefeller's Committee on the Arts and the national seminars held in con-
junction with the publication, Ccming to Our Senses. Two trucks operated four
days each week visiting 645 conmunity centers in this fiscal year, and had over
30,000 participants.
Funding:
City and County of San Francisco (CETA salaries)
Museum Society
National Endowment for the Arts grant
$32,000
20,500
15,300
(9)
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3. Fine Arts Haseums of San Francisco Downtown Center
The Downtown Center, established in 1976, is a branch gallery of the Museums
located in the business comiiunity. During the fiscal year 1978-79, the Down-
town Center 'was staffed by the de Young ILiseum Art School and provided a
training center for the Rockefeller/National Endowment for the Arts interns.
The Center provides exhibition and education programs for the business com-
munity at Three Embarcadero Center, where it relocated in August 1978. Ten
exhibitions and related programs were offered during this fiscal year which
had an attendance of over 100,000 people.
On April 5, 1979, the Board of Trustees voted to discontinue the Downtown
Center. However, after a great deal of comiiunity interest in retaining the
Center was esqiressed, the Trustees reconsidered their decision on June 7,
1979, and voted to keep the Center. At this tine, a split in financial ac-
countability between the de Young liiseum Art School and the Downtown Center
was recomnended. Coinnencing with the fiscal year 1979-80, the FAIiSF DTC
funds will be administered through the FM Foundation.
4. Intern Training Program
The museum internship program is funded by the Rockefeller Foundation and
the National Endowment for the Arts. The curricultm is designed to train
persons in the field of museum education and to place these persons in po-
sitions throughout the liiited States. Nine persons were participants in
the program this year: Israel Alcanter, Michael Milligan, Jose Iferia Bustos,
Gail Gorton, Susan Rare, Lori Starr, Jess McElroy, Anne Wilson, and Cleveland
Bellow.
Docent Council
The Docents are a select and highly trained groip of men and wcmen who give
time to conduct tours of the permanent collections of the Asian Art Museum and
The Fine Arts Museums for the public on a regular and continuing basis. In
addition, tours of special exhibitions are given by request on special topics,
to the deaf, to the handicapped, and of course, to school children. Workshops
are offered for teachers to enable them to conduct a better museum visit with
their classroom. Programs are carried out in conjunction with the appropriate
museum Education Department.
Highlights of the past year include:
1. Coordination of the visual format of letterhead, roster and bulletin in line
WTith the museum "look".
2. Publication of monthly Bulletin of future events.
3. Joint workshops for all Docents (including Arboretum and California Academy
of Sciences) on tour techniques for disabled persons.
4. Comnunity Lecture/Speaker's Bureau for special exhibitions.
5. Participation in Docent Forum in San Jose.
(10)
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6. l-Mntenance of records of Docent activities and individual Docent
participation .
7. Continuation of training programs in the Asian Art Moseum and Africa,
Oceania and the Americas galleries.
8. Preparation of new trainee program for Western Docents.
9. Questionnaire sent to all Docents to deteronine effectiveness of Docent
Council - organization, programs, commLmications , training.
10. Establishment of peer evaluation for and by Western Docents.
11. Provision of Western Docents for research projects, for Master’s thesis
material written by a former Docent, for Curatorial staff.
12. Participation in Teacher Workshops.
13 . Continuation of tours of the permanent collections , and special exhibitions
to the public.
1,742 general and special tours were given in the Asian Art Museum this year,
as well as 298 school and in-school tours. 421 general and special tours were
given in the ADA galleries and 396 school and in-school. In the Western col-
lections, 731 general, American and special tours took place along with 413
school tours and 358 hours spent in tours given for the Dresden and Tut exhibi-
tions. 229 comnunity lecture programs were offered in conjunction with Dresden
and Tut, serving a total of 26,300 visitors.
83 tour programs were offered for the visually handicapped, 54 of these being
associated with the "Tut Tactile" program. Total participants numbered 1,393.
57 tours were given in both The Fine Arts Miseums and Asian Art: liiseum as part
of the program for the deaf, general, school and in-school ccmbined. These
served 1,292 visitors.
Total active docents as of July 1, 1979 numbered 287.
Interpretation
The activities of the Department of Interpretation have expanded greatly this
year due to our extensive exhibition schedule and the enlargement of our school
and comnunity outreach programs. Docents continued to be used as guides through-
out the Mjseums and also visited schools, delivered slide- illustrated ccoinunity
lectures, and were involved in our programs for the disabled. Labels, wall
panels, brochures, audio-visual presentaticris , and recorded tours were developed
to enhance the visitor's imseum experience. Curriculum packets, slide presen-
tations, and teacher's workshops oriented teachers and students to our special
exhibitions, and several methods were developed to make our collections and
ejdiibition programs accessible to the disabled.
Volunteer Council
The special exhibitions "Splendor of Dresden" and "Treasures of TutankhamLin' '
challenged and motivated The Fine Arts Museums' 600 volunteers in 1979, re-
sulting in a paraprofessional staff of dedicated and well-trained miseun
■workers. About 500 volunteers worked about 15,000 hours selling admissicn
(11)
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tickets and exhibition catalogs, dispensing information, and working in the
special gift shop during "Dresden". For the exhibition "Treasures of
TutankharaLin" , 460 volunteers helped disabled visitors, gave out information,
monitored school group tours, and answered telephones in the Tut Office,
working approximately 5,000 hours per month.
In 1978-79, volunteers provided clerical and research services in museum
staff offices, worked in the library, repaired tapestries and decorative
art objects, sold items in the bookshops, and generally filled in as museum
warkers \dienever needed. Averaging between 3,000 and 5,000 hours per month
in donated time, volunteers gave as much as $300,000 in labor to The Fine
Arts Miseums of San Francisco in 1978-79.
Adminis trat ion
The activities of the Adminis trat ion Division of the Museums were dominated
during fiscal year 1978-79 by the administration and planning of major ex-
hibition budgets as well as the daily operations of a conplex instituticn.
Along with fiscal management, security and building maintenance, and per-
sonnel administration, an active development program became a vital function
of this division. Due to Proposition 13, the Museums' City budget reductico
of 197o underscored the need to secure alternative long range funding.
Foundations and federal agencies are two inportant sources on which the Museums
increasingly rely for support. Grants awarded for this fiscal year included:
Frcm the National Endowment for the Arts :
$5,000 for Purchase of Drawings by Living Artists
$250,000 HVAC: Legion/ de Young
$13,000 Decorative Arts Projects in de Young
From Other Sources :
$5,000 frcm the Institute of Miseim Services for unrestricted operations
$5,684 frcm the San Francisco Foundation for adaptations to de Young for the blind
$10,000 from the Hearst Foundation for a feasibility study: reconstructing the
Spanish Monastery
$150,000 frcm the Irwin Charity Foundation for HVAC at the Downtown Center and the
Legion
$15,000 frcm the Hearst Foundation unrestricted
During this report period, attendance at the Museums was greatly increased due to
"Splendor of Dresden" exhibited at the Legion of Honor. Attendance for this ex-
hibit alone was in excess of 550,000 frcm February to June 1979. Attendance at
the de Young was estimated at 500,000.
Major renovation of both Museum buildings took place during this reporting period
as part of preparations for the two major e^duibits and long term inprovement plans.
New heating, ventilating and air conditioning systems were installed in order to
bring the Museums ip to acceptable standards for the safe display of works of art.
(12)
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I'liseum Society
The Museum Society serves as the membership organization for The Fine Arts
Miiseums of San Francisco and the Asian Art Museum of San Francisco. As of
June 30, 1979 it had a paid membership of 76,202, and si:pported, in \d-iole or
in part, a variety of activities at The Fine Arts Museums in 1978-79.
Activities Quantity
Exhibitions 8
Exhibition programs (synposia, films, music and dance) 5
Exhibition-related Lecture Series and Comnunity Lecture
programs (Dresden and Tut) 3
Performing arts programs and series 3
Lectures 3
Programs for children 4
Publications 2
Ifenibers' events (includes six Dresden members' evenings) 10
Special events (non-member) 5
Travel tours 4
FAt'ESF staff salaries (permanent salaried payroll as of June
30, 1979) 14
The Museum Society Auxiliary, a fund-raising arm of The Museum Society, has
97 Active moiibers and 41 Sustaining members. ILembers of this affiliated group
assisted at four evening receptions, decorated two Christmas trees in the
American Galleries at the de Young, and netted $10,864 frcm a benefit lecture
by Thomas Roving on "The Tomb of Tutarikhamun, a Detective Story".
The three suburban Auxiliaries in Belvedere-Tiburon , Hillsborough and Ross,
organized to stimulate interest in the Museum Society and the Museums , each
held three programs for their menbers during the year.
Members of the Graphic Arts Council participated in visits to private col-
lections, lectures, gallery tours, lectures and exhibition previews. A com-
plete set of William Wiley prints and three other acquisitions were donated by
the Graphic Arts Council to the Achenbach Foundation for Graphic Arts at the
Legion of Honor.
The Museum Society also sponsors the Volunteer Council which trains and organizes
the over 500 volunteers who staff major exhibitions and assist in many other
areas of the Miseums. The Bookshops at the de Young and Legion of Honor are
LLiseum Society projects, as were the special exhibition shops for the Dresden
and Tutarikhamun ejdiibitions . The Society is also responsible for the catering
contracts for the Cafe de Young and the Cafe Chanticleer.
Following is a breakdown of Museum Society expenditures on behalf of The Fine
Arts Museums in 1978-79. Figures for 1977-78 are included since expenses often
(13)
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spanned two fiscal years.
Exhibitions
1978-79
1977-78
Prints. by Peter Milton
$ 424
$ 1,205
English Silver from the Ibteniyer Collection
18,366
8,128
A Century of Brides
9,592
3,146
The Art of Being Huichol
50,163
4,818
The Splendor of Dresden
1,507,778
14,953
Acquisitions 1978
5,387
-
Masterpieces of French Art (traveling
exhibition of Legion French paintings)
57,124
_
Treasures of Tutankhanun
1,410,747
98,325
Education
Exhibition progranming (symposia, films,
lectures)
49,348
Other programs (lectures, films,
performing arts)
14,415
de Young Museum Art School
Downtown Center
15,000
Trip-out Truck
15,000
Scholarship program
1,875
Art Apprentice program
750
Conminity programs
7,850
Gallery Re-installation
Permanent collections (de Young and Legion)
10,006
Adininistration Costs
FAM Director's Contingency Fund
45,000
Indirect costs and equipment
34,374
Private receptions /dinners
63,505
FAM staff salaries (14 permanent positions)
233,547
Publications
42,075
Contribution to NEA Challenge Grant
200,000
(14)
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